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Full text of "Theatre magazine"

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COFYHIGHT 1922 BY THE THEATRE MAGAZINE CO. TRADE MARK REG. U. I. FAT. OFF. 




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Theatre Magazine 
July, 1922 



THEATRE MAGAZINE is published on the fifteenth ct each month by Theatre Magazine Company, 6 East 
39th Street. New York. SUBSCRIPTIONS $4.00 a year in advance. Yearly Indexes 25c. Entered 
as secend-class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879. 



Vol. No. 36, No. 1 
Whole No. 256 



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llttatrt Magatitu. //>, 







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the exptriem-e yourself. Seeing it is iimuMiig: doing it is well you 

know what we mean. 



COKTEJNTS FOR JULY, 1922 

Articles and their Authors 



Miles. Ledowa, Neweroff, Elisius and Sherman of the 

Pavley-Oukrainsky Ballet Contents Illustration 3 

Jean Baptiste Poquelin dit Moliere 5 

Editorial 6 

Fun and Laughter in New Comedies * 7 

Capsule Criticism Alexander Woollcott 8 

Players Who Please Broadway 9 

Shall We Have a Censorship of the Theatre in America? 

Yes By Canon Wm. Sheaf e Chase 10 

No By Channiny Pollock 11 

Seventy Years a Theatregoer 12 

Sentimental and the Comic in New Dances 13 

Jane Cowl Full Page Portrait 15 

.The Playgoers F. A. Austin 16 

They Turn Their Backs on the World 17 

"The First Fifty Years" (Excerpts from).. Henry Myers 18 

Dream Days Study by J. W. Pondelicek 19 

Mystery and Satire in New Plays 21 

Talent and Beauty on Broadway 23 



Heard on Broadway 24 

One Compensation for Staying in Town.. 25 

Vaudeville Applauds Stars of Yesterday 27 

Stage Notabilities at Unusual Functions.. 28 

Mr. Hornblow Goes to the Play. . 2 9 




Comely Players in Musical Comedy... 33 

It's None of the Public's Business Archie Bell 34 

Mrs. Lionel Barrymore 3g 

The Stage Honors Rose Coghlan 36 

Matinee Idols in Picturesque Roles.. 37 

Moliere Man of the Theatre. ... William Fenwick Harris 38 

Stars of the Silver Screen 39 

Old and New Favorites in Filmland 40 

The Amateur Stage M . E Kehoe 41 

Fashions Anne Archbald 45 

Florence Walton's Home 50 



F. E. ALLARDT. Director of Circulation 



Cover Design by Henry dive 



LOUIS MEYER) 

PAUL MEYER/ Publi8her> 



Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern 
president; Louis Meyer, treasurer; Paul -Meyer, secretary. Single copies are thirty-five cents; four 
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c. 



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Theatre Magaiine. July, it** 





Viewing the strap hangers in "The Bronx Express," at the Astor, from your 
comfortable orchestra chairs is quite a different thing from going through 

the experience yourself. Seeing it is amusing; doing it is well you 

know what we mean. 



I 



' 



Eddie Cantor in 
"Make It Snappy," 
at the Winter 
Garden, is, o f 
course, the whole 
show. Here we 
have him in one of 
his latest darkey 
make-ups. 



Faced with a jail sentence for a crime of which they are innocent, Potash and Perlmutter. 
at the Selwyn Theatre, have an anxious half hour in the office of the U. S. Commissioner. 



FUN AND LAUGHTER IN NEW COMEDIES 



[7J 



Capsule Criticism 



Famous Examples of Reviewers Who Fought With Witticism the Tendency to Prolixity and Dullness 

By ALEXANDER WOOLLCOTT 



THERE is a popular notion that a 
dramatic criticism, to be worthy of 
the name, must be an article of at 
least one thousand words, mostly poly- 
syllables and all devoted perfectly de- 
voted to the grave discussion of some play 
as written and as performed. To this 
notion, it must be sadly admitted, each 
generation of writers on the theatre have 
lent some color. 

In such an article it is presumed that 
there will be one judicious use of the word 
"adequate" and one resort to the expression 
"treading the boards." Also at least one 
regretful shaking of the head over the hope- 
less inferiority of the performance, in ques- 
tion to, (a) the way it was done in some 
other country two years before, or, (b) the 
way it would have been done in the critic's 
own country thirty years ago. Such ingre- 
dients are expected with reasonable con- 
fidence. But one thing is certain. The 
piece, to be real dramatic criticism, can 
scarcely be briefer than a thousand words. 

The tradition of prolixity and dullness 
in all such writing is as old as Aristotle and 
as lasting as William Archer. A man who 
will talk gayly of a play will yet feel a 
certain solemnity wetting down his spirits 
the moment he .finds himself called upon 
to discuss it in print. Even Mr. Dickens, 
who could take his beloved theatre lightly 
enough when he was weaving it into a 
novel and who always packed his letters 
full of the most engaging accounts of the 
farces and melodramas he was seeing, be- 
came rigid with self-importance and chill 
scrupulosity the moment he knew he was 
reviewing a piece for publication. If he 
had undertaken to supply such comment to 
The Examiner or to our own Atlantic, a 
voice within him seemed to whisper "Re- 
member, now, you're a dramatic critic." 
And, lo he was no more Dickensy than 
the merest penny-a-liner. This was true to 
some extent of Walt Whitman and cer- 
tainly was true of Edgar Allan Poe. (The 
strangest people, it will be noted, have put 
in some time as dramatic critics. Such peo- 
ple, for instance, as Eugene Field and 
Richard Harding Davis and Edward Bok 
and Elihu Root.) Probably they were all 
verbose. 



I suspect it could be demonstrated 
that the most telling of all dramatic 
criticisms have found expression in less than 
fifty words. Also that the best of all were 
never written at all. To substantiate this, 
I have been raking my memory for the 
ones that have lodged there, while longer 
and more majestical utterances have faded 
out of mind as completely as though they 
had never been written. 

What we are looking for, of course, is 
the happy sentence that says volumes. As 
an example, consider the familiar problem 
presented by the players who can do every- 
thing on the stage except act. I have in 



mind a still celebrated beauty to whom 
that beauty opened wide the stage door full 
thirty years ago. Since then she has de- 
voted herself most painstakingly to justify- 
ing her admission. She has keen intelli- 
gence and great industry. She has learned 
every trick of voice and gesture that can be 
taught. She has acquired everything ex- 
cept some substitute for the inborn gift. 
Something to that effect, expressed, of 
course, as considerately as possible, ought, 
it seems to me, to be a part of any report 
on her spasmodic reappearances. 

It usually takes about five hundred 
words. Yet Mr. Cohan managed it pretty 
well in a single sentence when he was pass- 
ing on a similar case in one of his own com- 
panies. An attempt was made to argue 
with him that the veteran actor under re- 
view was a good fellow and all that. "He's 
a fine fellow, all right," Cohan assented 
amiably enough, and then added with mur- 
derous good-humor: "There's really only 
one thing I've got against him. He's stage- 
struck." 

VOU see, often the perfection of these 
capsule criticisms are achieved by mere 
bluntness are arrived at by the no more 
ingenious process than that of speaking out 
in meeting. I was struck with that on the 
melancholy occasion when John and Ethel 
Barrymore lent a momentary and delusive 
glamor to a piece called "Clair de Lune," 
by Michael Strange, the exquisitely beauti- 
ful poetess whom Mr. Barrymore had just 
married. By the time its third act had 
unfolded before the pained eyes of its first 
audience, there was probably not a single 
person in that audience who was not think- 
ing that, with all the good plays lying voice- 
less on the shelf, Michael Strange's sham- 
bling and laboriously macabre piece would 
scarcely have been produced had it not been 
for the somewhat irrelevant circumstance 
of her having married Mr. Barrymore, the 
surest means, apparently, of engaging his 
priceless services for one's drama. Now 
some such opinion, I say, was buzzing in 
every first-night head. All the critics 
thought just that. Yet they all described 
nervous circles around this central idea, 
dancing skittishly about it as though it 
were a maypole. Full of what Gladys 
Unger was once inspired to call "a dirty 
delicacy," reluctant, perhaps, to acknowl- 
edge the personal equation in criticism and 
weighed down, probably, by an ancient re- 
spect for the married tie, they avoided all 
audible speculation as to why Mr. Barry- 
more had put the piece on at all. All, that 
is, 'except one, Mr. Whittaker, of the 
Chicago Tribune the same Mr. Whit- 
taker, by the way, who married the fair 
Ina Claire cheerfully put the prevailing 
thought into three devastating words. He 
entitled his review: "For the Love of 
Mike." 

That is not the only time I have seen 

[8] 



the very essence and spirit of a review dis- 
tilled in a single headline. It happened 
on the occasion when the late Sir Herbert 
Tree, ever and always recognizable behind 
the most ornate make-ups, ever and always 
himself through all faint-hearted efforts at 
disguise, appeared for the first time in Lon- 
don in "The Merchant of Venice." It 
was on that occasion that his more illus- 
trious brother, Max Beerbohm, then mere- 
ly the dramatic critic of the Saturday 
Review, went back stage to felicitate the 
star but was overlooked in the crush of 
notables who were crowding round. When 
Tree chid him afterwards for unfraternal 
neglect, Max murmured: "Ah, I was there, 
but you did not know me in your beard." 
Of course, Max could not write the review 
of his own brother's performance, a task 
delegated, therefore, to John Palmer, 
whose comment on the play was awaited, 
naturally enough, with considerable inter- 
est. Palmer wrote a polite, though mildly 
derisive, review of the production and en- 
titled it: "Shylock as Mr. Tree." 

I find that the crispest reviews which 
come back in this effort at memory have 
taken many forms. For instance, when it 
was quite the leading American sin to at- 
tend the agitating performances of "Sapho" 
by Olga Nethersole, Franklin P. Adams 
made his comment in one quatrain : 

I love little Olga 

Her plays are so warm. 

And if I don't see them 
They'll do me no harm. 

E late Charles Frohman, on the other 
hand, was likely to sum up plays most 
felicitously in telegrams. Once, when he 
was producing an English comedy at his 
cherished Empire Theatre in New York, 
he received, just after the premiere, a cable 
of eager, though decently nervous, inquiry 
from the author in London, who could not 
bear to wait until the reviews and the box- 
office statements reached him. "How's it 
going?" was the inquiry. Frohman cabled 
back: "It's gone." 

Of course, many of the best capsule 
criticisms are classics. There was Warren's 
tart comment on Joe Jefferson's perform- 
ance as Bob Acres in "The Rivals," a bril- 
liant feat of comedic genius made out of 
whole cloth, so little origin did it have in 
the role as originally written. "Ha," quoth 
Warren, "Sheridan twenty miles away." 
And there was the feline stroke usually 
ascribed to Wilde the one which said that 
Tree's Hamlet was funny without being 
vulgar. And there was the much-quoted 
knifing of still another Hamlet by an un- 
identified bandit who said, after the per- 
formance, that it would have been a fine 
time to settle the great controversy as to 
who wrote the play. One need merely have 
watched beside the graves of Shakespeare 
and Bacon to see which one turned over. 
(Continued on page 62) 






Theatre Magafine. July, 1911 




CARLOTTA 
MONTEREY 

This decorative California 
actress, after a game 
struggle this season with 
inadequate r 6 1 e s in 
"Bavu" and "Voltaire," 
has at last been happily 
cast in "The Hairy Ape." 
She gives an intelligent 
interpretation of the 
vapid heroine of O'Neill's 
fantastic play. 



Maurice Goldberg 

JULIETTE CROSBY 
Daughter of Oscar T Crosby, assistant 
Secretary of the Treasury during McAdoo's 
incumbancy, this interesting young actress 
is a native of Washington. After serving as 
a nurse in France, she entered the theatre 
and recently achieved high praise for her 
fine performances as the young bride in 
"The Nest." Miss Crosby is at present 
with Howard Rumsey's excellent stock 

company in Rochester 

PLAYERS WHO 



ALICE BRADY 

After her somewhat 
unfortunate experi- 
ence in "Drifting," 
followed by a visit 
from the stork, vaude- 
ville has now claimed 
sweet Alice. After a 
few appearances in 
the two-a-day, she will 
return to the Coast 
and again appear in 
pictures. 




Alfred Cheney Johnston 



PLEASE BROADWAY 



[9] 




es 



Shall We Have A Censorship 

r PHE food of suggestive, Indecent plays which have recently disgraced the American theatre has revived 
once more the question of censorship of the speaking stage similar to that now exercised by Act of Legis- 
lation over the motion picture industry. England and other European countries have long had a State censor- 
ship of plays mainly for political reasons. American dramatists so far have been untrammeled in this respect. 
Our playwrights and managers declare a censorship would harrass and cripple our native dramaturgy and 



By CANON WM. SHEAFE CHASE 

Rector of Christ Church, Bedford Ave., Brooklyn 



THE theatre situation this season in 
New York City has exploded two 
oft quoted fallacies, that the public 
is the best censor and that freedom from 
legal control is the life of the stage. 

The public has censored in vain, and filth 
still defiles the New York stage. Govern- 
ment has failed to function and dirt still 
besmirches the drama in the metropolis. 

The Grand Jury refused to indict the 
producer of the play which the dramatic 
critic of a well-known evening newspaper, 
early last Fall, informed the District At- 
torney, was "the dirtiest and filthiest per- 
formance that he had ever seen in a public 
theatre." Out of 23 members of the 
Grand Jury, there were not 12 persons 
who thought that that play was "obscene, 
immoral or impure or would tend to the 
corruption of the morals of youth or 
others," the words which describe the kind 
of a play forbidden by the penal law. Yet 
Chief Magistrate McAdoo said of it: 

"This play is deliberately, painstakingly, 
and for purposes of gain, coarsely indecent, 
flagrantly and suggestively immoral, im- 
pure in motive, word and action, larded 
with profanity, .repellently vulgar and in 
every respect offensively illegal under the 
statute governing such matters." 

The one ray of hope in the midst of the 
scrofula of sin which has brought the 
spoken drama near to death's door, is that 
the large majority of the most influential 
playwrights, producers and managers agree 
with Judge McAdoo in his condemnation 
of the play and realize the disaster that 
impends. 

On May 2, the Court of Appeals in 
Albany, decided that the License Commis- 
sioner of New York City does not have the 
power, which he claimed, to revoke sum- 
marily the license of a the?.tre which has 
shown an indecent play. Judges of Courts 
of Record may revoke a theatre license 
summarily for certain causes, as for admit- 
ting minors, or for Sunday performances, 
but not for indecency. As the License Com- 
missioner cannot summarily revoke the 
license of a' theatre, and no one else can do 
so, civil government for the present has 
failed to remedy this great evil. 

When the Appellate Division, reversing 
Judge Wagner (117 Misc., 605), decided' 
that the License Commissioner cannot sum- 
marily revoke the license of any play for 
indecency, it said that the criminal law 
which forbids indecent plays, ordinarily 
affords a reasonable safeguard for the public, 
but that if it should be found inadequate, 
the Legislature may provide for a censor- 
ship of plays (192 N. Y. Supp., 421). 

Wonderful, however, is the revolt of the 
authors, playwrights and movie producers 




Pach 

REV. CANON CHASE 

Prominent churchman who took an active 

part in the enactment of the New York 

State Motion Picture Commission Law. 

against law. They are afraid of law. 
They want freedom. Their idea of liberty 
differs from that of Daniel Webster, who 
said: 

"It is a legal and refined idea, the off- 
spring of high civilization, which the sav- 
age never understood and never can under- 
stand. Liberty exists in proportion to whole- 
some restraint: the more restraint on others 
to keep them off from us. the more liberty 
we have. It is a mistake to think that 
liberty consists in paucity of laws. If one 
wants that kind of liberty let him go to 
Turkey. The Turk enjoys that blessing. 
That man is free who is protected from 
injury." 

The playwrights do not realize how 
eager human hearts are for cleanness and 
how the people yearn for the stimulation 
of their higher faculties. When drama- 
tists see that managers who break the crimi- 
nal law and exploit the sex impulse, for 
the sole purpose of gain, draw crowds of 
the young, the weak, the curious and the 
irresponsible, they do not see the horror and 
the disgust of the sane and responsible part 
of the community who stay away and cease 
to patronize the theatre. Consequently, 
they fear law and reformers. 

The play folk are suffering from law- 
phobia, and from a fever of smut. They do 
not realize that these diseases combined 
have been communicated to the goose that 
lays the golden egg and killed it. They 
have killed the theatre business. 



It is marvelous that the dramatic busi- 
ness in New York, in its fear of a bugaboo, 
has allowed itself to be misled by certain 
sordid managers and playwrights, and has 
been blind to the outstanding benefits of the 
censorship of the stage in England, which 
has existed there since the Renaissance, at 
first by royal prerogative, but since 1737 by 
act of Parliament. One man, a member of 
the King's household, exercises the censor- 
ship power which no court can modify or 
reverse. 

In 1832, '53, '66, '92 and in 1909, in- 
vestigations into the English censorship of 
plays were made by Parliamentary com- 
mittees which each time favored the reten- 
tion of the Censorship. 

The remarkable thing is that, while prac- 
tically all the authors and playwrights of 
Great Britain favored some change in the 
English Censorship law, practically all the 
producers, stage managers and the public 
generally urged the retention of the censor- 
ship law. The drama writers wanted to 
be free from restraint, but the people gen- 
erally, sensibly concluded that everyone 
ought to be compelled to obey the law, 
even the authors of plays. They recognize 
that the argument is fallacious which claims 
that an acted play is no more powerful than 
a printed play. They draw a distinction 
between the press and amusements, and 
realize, as the U. S. Supreme Court has 
stated, "that evils in the amusement world, 
because more dangerous, need to be more 
carefully prohibited and more effectively 
penalized than the press." 

The stage can never be cleansed so long 
as it is insisted that a bad play is no more 
dangerous than a bad book, and should be 
regulated' in the same method, i. e., by 
prosecuting the author or producer, while 
the play is being exhibited. Such legal 
prosecution advertises and increases the 
patronage of the bad play and brings the 
decision as to the merits or demerits of the 
play before an ignorant and unskilled jury 
or court. Such a remedy is not fair to the 
honest producer, for, instead of furnishing 
a method of ascertaining whether or not a 
certain play is forbidden by law, it compels 
him to go to the immense expense of put- 
ting the play on the stage before he can 
have a legal decision as to whether or not 
it is prohibited by law. 

The benefits of censorship are sevenfold. 
It provides a uniform standard, a skilled, 
experienced critic, a clean stage, a high class 
of playwrights, the confidence of the public, 
good business, and prevents unnecessary risk 
on the part of the producers. 

The authors, having a uniform standard 
which is clearly understood, are set free 
to do their best work. They are not re- 
(Continued on page 58) 



[10] 



Theatre Magazine, July, 1922 



of the Theatre in America? 

work incalculable harm to the best interests of the theatre. On the other hand, our public officials, magis- 
trates, educators, reformers say that the safeguarding of the morals of the community comes before anything 
else, and that censorship is the only way to' keep the stage within bounds. Herewith the question is discussed 
from two entirely different points of view that of the reformer and that of the playwright. 



No 



By CHANNING POLLOCK 

Vice-President of the Authors' League of America 



BILL NYE insisted that the only way 
to obtain relief from a felon was to 
lay the finger on an anvil and let the 
blacksmith smash it. "Because," said Wil- 
liam, "you can cure a smashed finger, but 
you can't cure a felon." 

This is the operation by which the pro- 
fessional reformers propose curing the 
theatre. 

The theatrical felon, of course like the 
actual paronychia is neither serious nor 
lasting. It is a painful inflamation, due 
to microscopic impurities, that appears at 
intervals, and disappears, of itself, within 
a short time. Two or three money- 
changers in the temple, feeling of tainted 
lucre only that the more taint the more 
'tis, discover that a certain number of 
Bronx Bohemians, and of Semitic stocking 
buyers from Missoula, Montana, can be 
bunked into believing that the mission of 
the play-house is to afford the same sort of 
satisfaction that used to come of chalking 
forbidden words upon a wall. Temporar- 
ily, there seems to be profit in the discovery, 
and, profit being all these men want, in the 
course of a season we have half a dozen 
productions, notable less for viciousness 
than for vulgarity, and calculated to cor- 
rupt the commonwealth in about the same 
degree that the chalk-marks used to mangle 
the morals of the neighborhood. 

Promptly, there is an out-cry. Here is 
ready-made lime-light for the professional 
reformers, many of whom have the same 
sentiment about profit from cleaning the 
community that the so-called managers 
have about profit from dirtying the 
drama. Here is something that never- 
happened before, and drastic steps must be 
taken immediately to assure ourselves that 
it never happens again. The only way to 
do that is to smash the theatre. Of course, 
sane and well-balanced people, with mem- 
ories, know that it has happened before, 
and that, whatever is done, it will happen 
again. Sane and well-balanced people re- 
call the virulent outbreak of a quarter of a 
century ago, when the success of "The 
Cuckoo" and "A Clean Slate" brought a 
perfect epidemic of what, without respect 
to their origin, were described as "French 
farces." In the course of a very short time, 
these disappeared, without steps being 
taken, because they were dull, and stupid, 
and had no place in the theatre. "Mrs. 
Warren's Profession," suppressed by a cen- 
sorship, didn't disappear, but holds the 
boards season after season, because it wasn't 
dull, or stupid, but a seriously intended 
dramatic work, and, as such, the reformers 
to the contrary notwithstanding, it had, 
and has a definite and unforfeitable place 
in the theatre. 

It is this complete lack of intelligent dis- 




CHANNING POLLOCK 



White 



Author of numerous Broadway successes 

and bitterly opposed to any censorship 

of his craft. 

crimination of what Henry Arthur Jones 
calls "any sane, consistent or intelligible 
ideas about morality'' that has brought 
professional censorship into disrepute with 
all reasoning people. These people these 
reasoning people opposed to censorship 
are quite as decent, and quite as jealous of 
the well-being of the populace in general, 
and of the theatre in particular, as any 
self-appointed arbiter of what may or may 
not be seen with safety. Augustus Thomas 
probably has as much unselfish public spirit 
as Assemblyman Schmalz, and Percy 
MacKaye is quite able to distinguish the 
lovely from the lewd without the assistance 
of Senator Callahan. And, when you assent 
to a censorship, it is to Assemblyman 
Schmalz and Senator Callahan, and their 
henchmen and political backers, that you 
turn over the art of Shakespeare and 
Moliere. 

Given a jury of reasonably unselfish 
and unselfishly reasonable persons, you no 
more have to prove the case against censor- 
ship than you have to prove the undesir- 
ability of arson, murder, prohibition, typhoid 
fever, poison ivy, and other necessary and 
unnecessary evils. Fortunately for our case, 
there is nothing speculative about any of 
these disasters. We have had all of them; 
we have some of them still, and we can 
watch their workings and estimate their ef- 
fect. Stage censorship in England banned 
"Ghosts," the most terrifying preachment 
against loose behavior ever launched from 
pulpit or proscenium; as it barred a long 
list of fine plays between "Oedipus Tyran- 



nus" and "Monna Vanna." Screen cen- 
sorship in America has provided several 
thousand pages of records that, for sheer 
humor, audacity, and extravagant absurdity, 
make Mark Twain's best efforts sound like 
a collection of reports from the Weather 
Bureau. 

Six years ago, in an article entitled 
"Swinging the Censor" since quoted by 
an eminent psychologist to prove the pas- 
sion for regulation more deep-rooted than 
a mere idea that our neighbors are all vi- 
cious, and would be more so but for the re- 
straining influence of our personal purity 
I gave numerous examples of how the mo- 
tion-picture censorship moves in a mysteri- 
ous way its blunders to perform. The hun- 
dreds of imbecilities from which I picked 
now are become thousands, but half a 
dozen, recited here, may serve our purpose 
without overflowing our space. Carmen's 
ancient kiss was ordered "cut to five feet," 
leaving the cigarette maker to give her life 
for a purely paternal peck from the bashful 
bull-fighter, Escamillo. In California, 
however, she wasn't permitted to give her 
life, a local board objecting to the killing 
of a woman by a man, though there is no 
opposition to the killing of men by women. 
After all, girls will be girls! Pennsylvania 
banned the little set-to between Carmen 
and Frasquita, and the duel between Mor- 
ales and Don Jose. Ohio prevented our 
heroine's smoking one of her own cigarettes, 
and, in one state or another, the majesty of 
the law raised the level of her decolletage, 
restrained her from baring the shoulder of 
her rival, and interfered generally with her 
classic displays of temper and temperament. 
"Carmen," as amended and expurgated, 
must have borne a striking family resem- 
blance to "Elsie Dinsmore!" 

Much more recently, censorship decided 
that Camille must be the wife of Armand, 
so that, in his famous visit to the lady, 
Armand's father was placed in the dubious 
position of asking her to divorce her hus- 
band in order that he might marry another 
woman. In Chicago, no children were al- 
lowed to witness "The Scarlet Letter." A 
large section was cut from a photoplay, 
called "The Warning," because there was 
a bed in the room adjoining the scene of 
action. Of course, a bed could have none 
other than an immoral purpose! In an- 
other picture, objection was made to a title 
covering pantomime in which a capitalist 
told a woman that he would employ her 
husband. The title read: "I've got a 
proposition to make to you." It was elimi- 
nated. The censors couldn't imagine a 
decent proposition! 

Dario Nicodemi and Michael Morton's 
drama of deep and pure purpose, "The 
(Continued on page 58) 



["J 



Seventy Years A Theatregoer 

New York Banker Tells Amusing Stories About Famous Players He Has Met 



FEW theatregoers of today possess the 
rich supply of knowledge about things 
theatrical that a certain prominent 
bank official of this town has locked away 
in the storehouse of memory. Mr. Bayne, 
Chairman of the Board of Directors of the 
Seaboard National Bank, of New York, is 
one of the oldest playgoers known to Broad- 
way. Today seventy-eight years of age, he 
began his theatregoing seventy-two years 
ago at the age of six chaperoned by his 
father. His reminiscences of the theatre 
of long-gone days include intimate and 
amusing stories about famous actors 
friends of his with whom he often 
travelled. Among these are numbered 
Henry Irving, Ellen Terry, Frank Tyers, 
William Terriss, Gustavus Vaughan 
Brooke, Charles Kean, and his wife, Ellen 
Tree, John Lawrence Toole, and Charles 
Mathews. 

This inveterate theatregoer has visited 
all the large theatres and opera houses in 
the world, and once, when a youth, in 
Japan, his passion for the theatre caused 
him to attend a performance of an historical 
play a performance which lasted two 
weeks. He took his food with him every 
day, and saw. the long-drawn out play to 
the finish. 

His passion for the theatre has not 
abated with the years, and New York 
first nighters are familiar with the figure 
of this bright-eyed, jovial, youthful-appear- 
ing bank official, who, though almost eighty 
years of age, sees all the plays worth while 
on Broadway. He attends the theatre on 
an average of about four times a week. 

COMETIMES I am disappointed," he 
^ says, with a twinkle in his eye, "but not 
often. I do not, of course, bother with the 
trashy plays produced, but I certainly never 
pass up any of the others. Frequently, I 
only get about four hours sleep a night, be- 
cause my crowding duties cause the days to 
be all too short for me, but I cannot sac- 
rifice my evenings at the theatre even to 
woo Morpheus." 

Asked if the plays of today come up to 
the standard of those presented half a cen- 
tury ago, Mr. Bayne reluctantly remarked : 
"Well, I don't think we'll ever see a play 
again that can compare with 'Fedora,' in 
which Robert Mantell and Fanny Daven- 
port starred. And only few of today's 
plays are comparable to 'The Wizard of 
Oz,' 'Girl of the Golden West,' 'The 
Gay Lord Quex,' etc." 

In addition to being a confirmed theatre- 
goer, Mr. Bayne is also a world traveler, 
an author, and he has also written short 
plays and burlesques. He is the author of 
"The Pith of Astronomy," "Quicksteps 
through Scandinavia," and "Fantasy of 
Mediterranean Travel." He has poked 
around in queer corners of the world, and 
his experiences are filled with adventure. 
Once he made a trip around Ireland fol- 
lowing the Ocean on an Irish jaunting 



car. Mr. Bayne was born near Belfast, 
Ireland. 

"From early boyhood," he said, "I have 
been deeply interested in the stage. In 
fact, it became a passion with me. When 
I reached the age of six, my father took 
me with him to Liverpool, Wales and Lon- 




S. G. BAYNE 

President of the Seaboard National Bank, 

New York City, and one of Broadway's 

oldest theatregoers. 

don, on a trip to secure supplies for his 
tannery. In the evenings we visited the 
finest theatres and saw the best perform- 
ances of the time. When I went to Bel- 
fast, in later years, I economized sufficiently 
to buy a season ticket for the dress-circle 
for some succeeding years in the Theatre 
Royal. When the London stars finished 
their season, they made a tour which al- 
ways included Belfast, usually putting on 
about seven of their best plays, and in this 
way I saw all the classics, including the 
Shakespearian plays. As I grew older and 
more enthusiastic, I made trips to London 
and Paris to see plays that could not be 
taken out of the capitals and shown on the 
road. As these excursions had to do with 
theatricals, I spent my time with the people 
of the stage and lived their life during my 
stay in London. I subscribed to the Lon- 
don World, owned by Edmund Yates, 
which was the intimate authority and guide 
to London stage life, art, and fashionable 
doings generally, so that I grew to know 
London well. 

"There was a man who dominated the 
Union Club of Belfast, who was an inter- 
national theatrical devotee, his name was 
Davie McTear, well-known in all theatres 
of the world. He entertained the stars as 
they appeared from time to time in Belfast. 
Inasmuch as I was well informed in his 
speciality, he usually asked me to meet the 

[12J 



theatrical visitors. I recall that he once 
drove out a four-in-hand to the Maize 
races with Mr. Edward H. Sothern's 
father, Edward Askew Sothern, when the 
latter was playing 'Lord Dundreary.' We 
made a 50 'sweep,' of which I was treas- 
urer, and Mr. Sothern won it. He in- 
sisted on dispensing liberal hospitality after 
receiving the proceeds of the pool, and we 
had a very merry trip home, and spent an 
entertaining evening with Mr. Sothern as 
our host." Mr. Bayne set the wheels of 
memory working until his reminiscences of 
theatrical celebrities dated back over sixty 
years ago. 

"It was that long ago that I saw Sam 
Phelps play Sir Pertinanx Sychophant in 
The Man of the World' at Sadler's 
Wells Theatre. And how well do I recall 
Henry Irving! Under the fashionable 
patronage of the Baroness Burdett-Coutts, 
he had made a great success of 'Hamlet.' 
In fact, London rang with his fame in the 
part, but he was lampooned for his man- 
nerisms and pronunciation by those jealous 
of him. These peculiarities came to him 
from his Cornish birth. His real name 
was John Henry Brodribb. He never quite 
overcame his Cornish accent. For instance, 
it seemed impossible for him to pronounce 
the word 'Queen' other than 'Quane.' These 
eccentricities made him a shining mark for 
sarcastic critics, and they never missed a 
chance to ridicule him. He was known as 
'the Iminent Wan' in some of the comic 
papers. 

~W7"HEN he visited America he instantly 
'' conquered our playgoers, and had 
them at his feet in 'The Bells,' 'The Lyons 
Mail,' 'Charles I,' and other popular plays. 
He feared to appear as Hamlet, for he 
thought that if he were criticized here as 
he had been in London it would destroy his 
prestige. His manager told him, too, that 
it would never do for him to play Hamlet, 
as the critics would 'slate' him. So Irving 
cast about to see how he could circumvent 
the situation. He finally decided to engage 
a special train, and to transport his entire 
company, scenery and accessories to Phila- 
delphia, and give a single performance 
there a feat never before attempted. 
Irving invited me to go over with him on 
this special train. He had the most re- 
markable and the greatest company ever 
assembled by any manager. There was 
CHen Terry, with a voice like a silver bell, 
who could at will move an audience to 
deep emotion as exemplified in her work 
as the Queen in 'Charles I.' She was so 
light on her feet that when she sprang 
across the stage in one of her plays and 
landed on a couch, it seemed as though 
thistledown had alighted there. 

"The company included four leading 
men who appeared as stars: Frank Tyers, 
who had played all the leading Shakes- 
pearian parts as a star in London and the 
provinces ; William Terriss, who was after- 



VIRGINIA WATSON 

Now dancing on tour in 
the revival of that popu- 
lar aerial comedy, "Go- 
ing Up." 







Muray 



Maurice Goldberg 

PAVLEY-OUKRAINSKY BALLET 

These picturesque dancers were a feature of 

their first production, "La Fete a Robinson," 

at the Manhattan Opera House recently. 



Theatre Maaasine, July, 



FELICIA SOREL 

This fair Roumanian 
dancer in the "Rose of 
Stamboul" started out in 
life to be an artist, but 
Michio Itow, recognizing 
her terpsichorean abili- 
ities, persuaded her to 
toss her palette aside for 
a more strenuous means 
of self-expression. 





Muray 



M. WARZINSKI 
and MLLE. 
BARTLETT 

The "comic relief" 
of Pavlowa's Ballet 
Russe, in their 
droll Dutch dance. 



Photo Abbe 



THE SENTIMENTAL AND THE COMIC IN NEW DANCES 



[13] 



wards assassinated by a crank at the stage 
door of the Adelphi in London as he was 
entering to dress for the star part in "Har- 
bor Lights"; Mr. Wennman, and others. 
Mr. Irving's agent and adviser was Bram 
Stoker, a master in his line. . His stage 
manager was Harry Loveday. When we 
arrived in Philadelphia, I helped all I 
could, though I was only an amateur. 
There were no tickets. Irving had invited 
the fashionable cognoscenti of Philadelphia. 
Every one of importance was there. It was 
the dramatic event of Philadelphia. Irving 
was on his mettle, and gave a splendid per- 
formance. He had the audience with him 
all the time. When he had finished, and 
was dressing for the street, he said to me, 
by way of playful jest : 

' 'The next time I play lago I'll coach 
you for the Moor. That will put you on 
top of the heap. I remember many years 
ago in Bob Donnelly's, at Belfast, on a 
Sunday night, when you had looked on the 
Bush Mills malt when it was red, you 
thought Othello was made to order for 
you. Now you're unexpectedly going to 
get a whack at it. Your ship's coming in 
at last. In my mind's eye I can see the pit 
rising at you. Bayne, you may yet become 
the John Kemble of your day.' 

THIS isn't a pipe dream, is it?" 
" 'No, no, my boy ; it's just an opium 
cocktail.' 

"I say, Mr. Irving, what would you do 
to a man if he called you 'Hen' as a term 
of intimate endearment?" 

' 'I'd shoot him on the spot if I had a 
pistol.' 

"The curtain was then raised, a caterer 
took possession of the stage, and a lavish 
supper was served. Then Irving proposed 
a toast to Miss Terry, as he always gave 
her the place of honor. The mingling of 
the actors and the guests became general, 
and a few short speeches were made. Miss 
Terry stepped forward, and asked if they 
had seen her in Tennyson's 'Cup' when it 
was produced in London. "But, no mat- 
ter," she said. "I shall be glad to give you 
the climax scene now." 

"She started slowly at first, but with in- 
creasing vehemence reached a frenzy. The 
audience was in tears, and she herself 
weeping. So greatly was she affected that 
Irving had to lead her to her dressing room. 
Then the party ended. The next morning 
we started _for New York, where I was 
dropped, and the company went on to 
Boston. 

"Irving was a prince of entertainers. 
Once he came from London especially to 
give a great dinner to friends who had en- 
tertained him here. He returned on the 
steamer within forty-eight hours. He was 
not a fluent speaker, but he was quite 
sure of himself, knew what to say in 
good taste, and when to say it. Like all 



great men, Irving had his Nemesis, and 
'Adonis' Dixey rilled that niche for him. 
Dixey had started a play called 'Adonis' 
which was a sort of medley. It made no 
particular stir until he introduced an imita- 
tion of Irving, which was so artistic and 
startling in all its details that his audience 
went wild over it. He made himself up to 
look like a twin of Irving. He had the 
slow dragging strut, the classic profile, with 
the straggling grey hair, the Cornish ac- 
cent, and the play was topped off with a 
song, each verse of which ended with 
"Quite English, you know." Then he car- 
ried on an imaginary dialogue, asking 
Irving: 

WHAT are your acting terms, Mr. 
Irving?' 

'I want a sleeping-car, I want a dining 
car, I want a smoking car, and I want all 
the receipts.' 

'But, my dear Mr. Irving, where do I 
come in?' 

'Ah, my dear sir, you have the honor to 
represent the greatest artist that ever trod 
the stage.' 

"I shall never forget the expression on 
Mr. Irving's face as he listened to this. He 
fled from the theatre. Afterwards Irving 
appeared at a benefit and recited a selec- 
tion. Immediately on his exit from the 
stage, Dixey appeared in a box in make-up 
and convulsed the house with his parody. 
Irving left the theatre in a rage, protesting 
that he had never been so insulted in his 
life. I had a seat in the front row, and 
saw the scene from beginning to end. It 
was Dixey's day, all right, but in question- 
able taste. The popularity of 'Adonis' 
caused it to have a run of 600 nights to 
crowded houses. A fortune was made by 
the owners." 

"DEFERRING further to stage celebri- 
*-* ties with whom he was acquainted in 
the long-ago, Mr. Bayne said: 

"I knew Gustavus Vaughan Brooke, the 
tragedian, his mother, and Miss Avonia 
Jones, his wife and leading woman, when 
they lived in Dublin. Brooke died a tragic 
death. He boarded a steamer bound for 
Melbourne, to fill an engagement in that 
city. The vessel met with an accident, and 
half of the passengers took to the lifeboats, 
while the remainder stayed on the steamer 
working on the pumps. Brooke was their 
leader, and went down with the ship, while 
the men in the boats were saved. He was 
popular in. 'Macbeth,' 'Othello,' and as Sir 
Giles Overreach in 'A New Way to Pay 
Old Debts.' 

"I knew Charles Kean and his wife, 
Ellen Tree. I went to London to see 
them in their great spectacular production, 
'Henry VIII,' at the Princess Theatre on 
Oxford Street." 

Mr. Bayne's own entry into the thea- 



trical field as a producer and actor occurred 
in Pennsylvania. He explained: 

"When I was in the Petersburg oil 
fields, that community needed a fire de- 
partment. Toole, the great London come- 
dian, was then in America on a professional 
visit. I had known him for many years in 
Belfast, and I tried to get him to help us. 
He said that if I would write a burlesque 
on Bombaste's 'Furioso,' and appear in the 
leading part, he would rehearse it, and as- 
sist in its production for two nights in the 
Petersburg Opera House. I complied and 
got everything ready, but he broke his 
ankle and had to go to a hospital. We 
went on without him, sold the seats, includ- 
ing the galleries, at $5 each, and were able 
to equip the fire department with the pro- 
ceeds, as originally planned. 

"I knew Charles Mathews, the greatest 
English light comedian of all time. I saw 
Tiim in 'Cool as a Cucumber,' in 'Still 
Waters Run Deep,' etc. 

"Yes, I have visited all the large thea- 
tres and opera houses in the world. The 
finest and most luxurious is the opera house 
at Buenos Ayres, magnificent, both front 
and back stage. 

T VISITED Japan in 1873, and the thea- ' 
A tres, of course. They consisted merely of 
large buildings, with low walls and roofs, 
enclosing neat wooden pens about five feet 
square. Each accommodated four persons, 
who sat with legs akimbo, like tailors, on 
the floor. There was a horseshoe runway 
around the house overhead, and on this 
runway the actors came out and spoke their 
lines. There were no women in the cast, 
but men made up to resemble them. It 
took the company two weeks to act a single 
historical play. We brought food and ate 
it in the pens. On the stage was a prac- 
tical ship that could go to sea in a storm, if 
necessary. It swung about on a large 
swivel, and it made one dizzy to look at it. 

"The 'Henry Irving of Japan' stood on 
its quarter-deck and drew an Irving salary. 
He wasn't much of an actor, but his talent 
lay in the fact that he could create the 
illusion of killing men in twenty different 
ways. He would drown them, stab them, 
choke them, knock them over with a stuffed 
club, apparently saw a victim in two, and 
in the same way pull their arms and legs 
out of their sockets. Then he would tie 
five of them in a bundle and push them all 
overboard. He was a conscientious mon- 
ster, and said he would not take money 
from the audience under false pretenses. 
He worked himself into a frenzy, and had 
to be carried out on a shutter to be revived. 
I still have some of the descriptive theatre 
bills on rice-paper showing pictures of him. 

"I have had a great many other thea- 
trical experiences but lack of space pre- 
vents mentioning them here." 




[14J 



Theatre Magazine, July, 1922 



_ 







Alfred Cheney Johnston 



JANE COWL 

From her long absence it was feared this lovely, lachrymose heroine was content to teur 

the provinces in "Smilin' Thru" indefinitely. It is rumored, however, to the great joy of 

many admirers, that she is to appear soon in an important new play. 

[15] 



ACT I. 

HE: "I hope the people around us will be 
quiet. Jenks told me you couldn't afford 
to miss a word or scene of this play." 
SHE: "I can't understand why people who 
pay $5 for theatre seats spend the time dis- 
cussing affairs they could talk over at home. 
I hope that large blonde in front of me is 
going to take off her hat. Mine is so small 
I don't believe I need take it off. Do 
you?" 

HE: "Better be on the safe side." 
SHE: "I'll wait until the curtain goes up." 
HE: "Look at those people still coming in. 
Wouldn't you think they could get here on 
time so as not to disturb a whole row, and 
if they've been eating onions you know it." 
SHE: "Yes, and taking the seat you put 
your wrap in." 
HE: "There she goes." 
SHE: "Who?" 

HE: "The curtain, of course." 
SHE: "You needn't be so snippy about it. 
'She' generally means a woman. How 
should I know the sex of a theatre cur- 
tain?" 

HE: "These programs are disgusting. 
Nothing but advertising. That's the thea- 
tre of today all over nothing but com- 
mercialism." 

SHE : "She hasn't taken her hat off." 
HE: "Neither have you." 
SHE: "I won't take mine off unless she 
does." 

USHER: "Madame, will you please remove 
your hat?" 

SHE (As she jerks the hatpins out) : "Yes, 
if you'll take away that arbor in front of 
me." 

(Large blonde turns with look of dis- 
dain but takes off her hat.) 
HE: "Perhaps now we can keep quiet long 
enough to find out what the play is about. 
If you had taken off your hat in the first 
place you wouldn't have made a spectacle 
of yourself." 

SHE: "Let me take the glasses for a 
moment. That looks like the Spinks. So 
it is. Now I wonder where they got the 
price of two theatre seats way down front 
like that. I know they owe the delicatessen 
man." 

HE: "That reminds me, did you speak to 
the laundryman about my collars? He's 
ruined a dozen in two weeks." 
SHE: "No, I forgot about it, but Mary 
Jones was in and she's discovered a new 
laundry that does nice work. She gave 
me the address and I'll try it." 

(Hisses and "keep quiet" come from sev- 
eral adjacent seats.) 

SHE: "Well, did you ever? Anybody 
would think this was Quaker meeting. We 
paid for our seats and we'll talk if we 
want to." 

HE: "Oh, can't you keep quiet for a 
moment?" 

SHE: "Listen to who's talking. Your 
tongue has been wagging at both ends ever 
since we came in." 

(Subdued chorus, front, rear and sides.) 



The Playgoers 

By F. A. AUSTIN 

"Hope you choke" "Cut it out" "Write 
him a letter" "Hire a hall." 
SHE: "If you want examples of good 
breeding, go to a New York theatre." 
HE (loudly) : "Somebody is going to hire 
a hearse presently if the party in back of 
me doesn't stop trying to pry off my sus- 
pender buttons with his feet." 
SHE: "Oh, just look at that dance frock 




"We paid for our seats and we'll talk if 
we want to." 

she is wearing? Do the actresses have to 
buy their clothes or does the manager pay 
for them ?" 

INTERMISSION. 

SHE: "Now they'll begin crawling all 

over us. Why didn't you get end seats?" 

For the life of me I can't understand why 

men can't go without a smoke for half an 

hour." 

HE: "In the old days it used to be a 

smoke and a drink. There goes my hat, 

the blundering idiot." 

SHE: "Yes, and in a minute they'll all 

come back and do it over again." 

HE: "If there isn't Howard back there in 

the lobby! I want to see him." 

(He makes a wild dash half the length 
of the row, dislodging hats and wraps from 
women's laps.) 

ACT II. 

(He comes in, stumbling over chairs and 
feet, after the curtain has gone up. Knocks 
his wife's hat to the floor.) 
SHE: "Did you see Howard? Of course, 
you did. I smell him. Where does he 
keep it, on the hip or in his cane ? Oh, it's 
a pleasure, a real pleasure, to go to the 
theatre with you." 

HE: "They're coming over to play bridge 
tomorrow night." 
SHE: "Who?" 
HE: "Howard and his wife." 



SHE: "How do you know I haven't made 
made other arrangements? Why not con- 
sult me first before telling him it was all 
right. I may have invited the Perkinses to 
go to a movie show." 
HE: "Well, have you?" 
SHE: "No, but 

HE: "Then for Heaven's sake, take it to 
the dumbwaiter shaft and drop it!" 
SHE: "Was he in the first act?" 
HE: "If you had watched the play instead 
of talking you would have known." 
SHE: "What are they all laughing at?" 
HE: "Count Guzeliver just bent over and 
his stays snapped." 

SHE: "I wonder if he wears them in real 
life?" 

HE: "Not being his valet, I couldn't say." 
SHE: "Aren't you sweet tempered?" 
HE: "Now isn't that nonsense? Here's 
the husband hiding behind a screen and 
coughing like a choking hippopotamus, but 
his wife and the man who is making love 
to her are not supposed to hear him. That 
isn't art. That's just raw." 
SHE: "Do you mind if I buy that suit I 
was telling you about yesterday? It's such 
a reduction and I can wear it in the fall 
too." 

HE: "What about the reduction of my 
pocketbook? Oh, yes, go ahead and buy 
it." 

SHE: "Now, John, if you feel that way 
about it I won't get it. I know you work 
hard for your money and we are trying 
to save. I guess I can get along without 
it but it is such a bargain." 
HE: "Now, dearie, don't be foolish. You 
go ahead and buy that suit. You deserve 
it." 

SHE: "No, John, I can do without it." 
HE: "Now, that's all settled. You get it 
tomorrow." 

(Suppressed groans and "go out and get 
it now," from adjacent seats.) 
SHE: "It's awfully hard to keep the thread 
of the play, isn't it?" 
HE: "What can you expect with a lot of 
people shouting all around you the way 
these boors are?" 

SHE: "They don't know any better, dear." 
HE: "She certainly is a stunner, isn't 
she?" 

SHE: "Who?" 
HE: "The leading lady." 
SHE: "She doesn't strike me as being 
superfine. She's all made up. In the street 
she's probably homelier than a hedge fence. 

(Starting as a slip of folded paper 
drops into her hand. Reads. "We do 
not care how many collars your laundry- 
man destroys, who you play bridge with, 
and what your respective opinions of each 
other are. We always like to see women 
well dressed but we came here to see and 
hear the play, not to listen to descriptions 
of suit bargains." 

SHE: "Now you just go and show it to 
the manager." 

HE: "Well, we have talked a good deal." 
(Continued on page 62) 



16 



tatrt Magofine, July, 




HELEN LEE 
WORTHING 
From Texas comes this 
striking dancer of the 
"Midnight Frolic," who 
languished unseen, as an 
artist's model, until Zieg- 
feld found her and placed 
her in his beauty chorus 



Photos by 
Alfred Cheney Johnston 





NETTIE RAINES 
So much more satisfac- 
tory than a live pet is the 
beastie on the end of 
your boa, or so thinks 
this attractive star of 
stage and screen 



JANET VELIE 

This pretty and pleasing prima donna of "The Perfect 
Fool," whose voice and presence lend charm to the 
Ed Wynn show, was last seen in New York in the title 
role of "Mary," where she scored the greatest success 
of her musical comedy career 



THEY TURN THEIR BACKS ON THE WORLD AND NO WONDER 



[17] 



'The First Fifty Years" 

A Play in Seven Scenes by Henry Myers 

rHE first work of a new playwright, this drama of marriage more than holds its own among the best plays of the 
season. Starting with the home-coming of a honeymooning couple (the only characters in the play) the author 
presents in seven intense and dramatic scenes, each marking a matrimonial milestone from the paper to the golden anni- 
versary, the change in their relationship from adoration, hatred and finally friendship. The following excerpts are 
printed here by courtesy of Messrs. Lorenx M. Hart and Irving S. Strouse, the producers, and Mr. Henry Myers. 

Copyright, 1921, by Henry Myers 



THE scene is laid in the living-room of a 
house in Harlem. The passage of time 
(from 1872 to 1922) is marked by the 
gradual changing of the two characters from 
the buoyant youth of the first scene to the 
querulous old age of the last; by the alteration 
of styles of dress and furniture, and by the 
development from country landscape into city 
street, a view of which is had from the living- 
room windows The first scene opens with the 
sound of a key turning in the lock, as the 
honeymooners enter their own home for the 
first time. Billing and cooing best describes 
the ensuing dialogue. 

MARTIN: I suppose every husband thinks he's 
married the finest girl in the world, but in my 
case it just happens to be true; that's all. 
I've never seen anyone so clever, so accom- 
plished 

ANNE: No, no, I'm not even accomplished, let 

alone all those other things. 

MARTIN: You are accomplished. Why, the way 

you play the piano 

ANNE: (Deprecatingly). What do I play? 

Mendelsohn's Spring Song and The Maiden's 

Prayer. 

MARTIN: But the viay you 

play them! I could listen 

to those two pieces for- 
ever. You have a certain 

tone and touch that can't 

be taught. If you would 

practice 

ANNE: Well, I will, to 

please you, but I'll never 

amount to anything. It's 

you that are the acconv 

plished one. 

MARTIN: (Modestly). Oh, 

if you mean those silly 

little poems of mine 

ANNE: (Indigantly). Silly 

indeed ! Martin Wells, I 

want you to make up a 

poem about me, and 

right this instant. 

MARTIN: Well all right 

if you really want me to. 

Let me have that pencil 

and note-book and I'll try 

to write a little tiny one. 

ANNE: In this book? 

blue-fish! 

MARTIN: But darling! a blue-fish that you are 
going to cook! (Takes note-booh and pencil). 
Let me see. The poem shall be called (hesi- 
tates) "Anne"! 

ANNE: Oh, I knew it would be. 

MARTIN: Just sit down a minute, will you, 
darling? 

ANNE: Why? 

MARTIN: The wonderful way you sit. 
(Anne sits). 



MARTIN: (Writes). "Oh, Anne, I wish you 

knew 
How absolutely I am the 

slave of you " 

(Doubtfully), I'm afraid I've put in too many 
syllables somewhere. 

ANNE: If you write the syllables, there can't 
be too many of them to please me. 
MARTIN: (Writes). "And the reason why you 

sometimes blush 
Is because you also love 

me very much." 

(Uncertainly). Does that rhyme? 
ANNE: It nearly rhymes Anyway what do 
rhymes matter. It's your beautiful thoughts. 
You think I'm perfect. You are. 
MARTIN: Don't let's argue about it. Let's just 
love, you little imp. (A long kiss). Don't you 
feel sorry for Howard ? 

ANNE: (Surprised). Sorry for Howard ? No! 
Why should I be? 

MARTIN: It was rather hard lines for him to 
be best man at our wedding. To think that 
he might have been your husband ! 
ANNE: Are you jealous because he sent me 
these wax flowers? Every bride gets wax 




MARTIN: To both of us. (Reads letter). "Dear 
Martin and Anne: I would not write this to 
anyone in the world but you two. I sail for 
Australia today, and the only thing this world 
will let me take along is the hope that you will 
be happy." 

ANNE: (Touched). Poor Howard! But 
Martin, it's you I love. 

MARTIN: (Reading). "I want this to be the 
one marriage that turned out successfully, so 
I offer a bit of advice, and if you love me, 
take it. You know that certain anniversaries 
have always been considered red-letter days of 
married life, from the first, the paper wedding, 
to the fiftieth, gold. On each anniversary I 
want you to consider your ways, and be sure 
that you are still in love." 

ANNE: Martin, he wants us sort of to ques- 
tion our hearts. 

MARTIN: Yes, Howard always was a good 
loser. (Turns page and reads.) "Promise one 
another now that you will question your hearts, 
and on each anniversary I will write to you. 
Your friend forever, Howard." 
ANNE: Our anniversaries, Martin, let's do it! 
MARTIN: Gladly, although it won't be neces- 
sary. This marriage will 
be a success. All these 
cynics who make fun of 
love-matches are wrong. 
"You can't live on love!" 
"Consider the future!" 
That's all we've been 
hearing. We can live on 
love. When our anniver- 
saries come around, we'll 
prove it. 

ANNE: (Softly). Martin, 
let's pray that we may 
live until our golden 
wedding. 

MARTIN: And be able to 
do what Howard asked, 
and find our love still 
perfect. 



Scene 6. Martin: "Just two elderly people who don't know 



With beef-loaf and 



each other 



flowers from somebody. They'll never go out 

of style. 

MARTIN: Jealous! Of course not. You had 

your choice, and you loved me. Why didn't 

you take Howard, at that? He's well fixed. 

ANNE: I simply didn't love him. He'll get over 

it. He's going abroad to live. 

MARTIN : Poor fellow ! ( Takes a letter from 

his pocket. Very seriously). Anne, there was 

one moment in my life when I almost regretted 

having married you. That was when this 

letter came. 

ANNE: (Surprised). Howard wrote to you? 



In Scene 2, the first an- 
niversary has arrived. 
Conversation between the 
two reveals the fact that 
Anne is dissatisfied be- 
cause Martin does net 

earn more money, and that Martin no longer 
considers Anne a perfect housekeeper. In the 
midst of their talk, Anne remembers Howard's 
letter and they read it over together. 

ANNE: "Question your hearts!" Do you recall, 
we said we'd always remember? 
MARTIN: Oh well, sentimentality, you know. 
In this excitement of moving into this house, 
we probably said some wild things. The honey- 
moon spirit is never logical. 
ANNE: (Seriously). Martin. 
MARTIN : Yes ? 



[18] 



Theatre Magatine, July, 19ft 




Ira L. Hill 



Courtesy of Corticelli 



Dream Days 

Posed by Miss Teresa Lynch 



[19] 



ANNE: Suppose we Jo consider our ways, 
and er question our hearts? 
MARTIN: (Off hand). Why not? 
ANNE: Do we mean the same to each other 
that we meant a year ago. 
MARTIN: How can you talk like that? 
ANNE: We must get our thoughts clear. Even 
if it makes us feel bad. 

MARTIN: Well, nothing scares me. (Sits, with 
fortitude), 

ANNE: (Sits). Or me, let's see. Are we still 
really and truly in love? 

MARTIN: (Protesting). Oh, now, Anne, if 
you're going to be sentimental about it 
ANNE: Well, put it like this. Have we stop- 
ped honeymooning? 

MARTIN: Good God ! I hope so! We can't be 
holding hands forever. We used to be rather 
idiotic about that. 

ANNE: Yes, you couldn't get enough of kissing. 
MARTIN: You know very well it was you. Of 
course, being a girl, you had to be modest, but 
! At any rate, common sense must rule 
sooner or later. 

ANNE: That's true. Kisses are kisses, but after 
all, they're only kisses. 

MARTIN: You hear an awful lot of bosh about 
"love-at-first-sight." The cold truth is, physical 
attraction brought us together. We didn't know 
it then, but we do now. Come: let's admit it. 
ANNE: But we are married, and we're fond 
of each other, call it what you will. Maybe 
we weren't practical, but what can we do about 
it? 

MARTIN: (Earnestly). I want to understand 
your notions of life, and I want you to under- 
stand mine. It seems to me we ought to help 
each other more to work with the same ends 
in view. Do you understand, my darling? 
ANNE: You mean that we should be er 
comrades. 

MARTIN: Comrades. That's it exactly. That 
will really bring us together. 
ANNE: (Delighted at the prospect). Com- 
rades! That's it! That's just what we ought 
to be. Is it a bargain? 

MARTIN: / want it to be. But not a cold- 
blooded bargain. Let's kiss on it. (They kiss.) 
ANNE: Let's shake hands too. ( They do so). 
Comrades ought to help each other. Perhaps a 
little well-meant criticism 
MARTIN: Quite so. Neither of us is perfect. 
It's our duty to point out failings. Now, if you 
were more systematic, and neat 
ANNE: Neat* I like that! Why, the way you 
throw your clothes around 
MARTIN: I have other things to think of be- 
sides clothes. It's up to you to tend to all that. 
ANNE: You can't expect me to run around 
after you, picking up your things. 
MARTIN: You understand, Anne, that I mean 
this for your good. 

ANNE: I know that, but you should look at 
things my way too. 

MARTIN: I do. But I can't help noticing cer- 
tain things, and I think somebody should men- 
tion them to you. 

ANNE: (Irritated). What things do you 
notice? 

MARTIN: For one thing, you stint on the 
table. 

ANNE: Stint! Economize. Do you know that 
eggs are fifteen cents a dozen? 
MARTIN: Why don't you keep your own 
chickens? Fvery other woman in Harlem has 
her own chicken-coop. The only time the table 



is right is when we have company. What's 
the sense of showing off? 
ANNE: We ran hardly starve our guests. 
MARTIN: Why save off our mouths to hand it 
to them? 

ANNE: It seems to me you're becoming stingy. 
MARTIN: I'm becoming sensible, and I'm try- 
ing to make you sensible. Of course, if you 
won't accept criticism 

ANNE: I will, when it's just. I do my very 
best, but if that isn't enough, I can't help it. 
MARTIN: Now, if we're to be comrades 
ANNE: I mean to be. But you must be fair. I 
could criticize a few things myself, dear. 
MARTIN: (Expansively). Do so. I want you to. 
I'm broad-minded enough. I like frankness. 
ANNE: (Snapping). Well, if you'd be more 
energetic in business, and make more money, 
we could manage. 

MARTIN: You don't understand. It isn't merit 
alone that counts in business. You must have 
influence powerful friends 




Scene 7. Martin: "The world thinks it has 
been a perfect match." 

ANNE: I'm just commenting. You asked for 
frankness. 

MARTIN: Yes, frankness. * But that is mere 
fault-finding. 

ANNE: It's for your own, good. 
MARTIN: Oh, is it? 

ANNES Yes, it it I (Both fume in silence for 
a moment.) 

MARTIN: (Draws a deep breath). Look here! 
I don't want to fight. We've gotten along with- 
out fighting. Don't let's start. 
ANNE: We have started. You started it. 
MARTIN : We'l T apologize. 
ANNE: No, I do. It's a mean trick to make a 
man apologize just because he is a man. 
MARTIN: That's sweet of you, Anne. I ad- 
mire you for that. Don't think I blame you 
for it; we were both wrong. 
ANNE: I guess we were bound to have a little 
spat sooner or later. Don't let's have another. 
(They kiss). 

MARTIN: We'll get along all right. We're as 
well off as most. Our marriage hasn't turned 
out so badly (Sits). 

ANNE: Of course not. Only we must take the 
good with the bad. (Sits). 
MARTIN: That's it. Be philosophical. Anne, 



would it really cost so much to raise only one 

child? 

ANNE: You know how I love children. But 

we can't afford it yet. We'd have to have a 

hired girl, and you know what it would cost. 

MARTIN: Just as you say. 

Scene 3 shows Martin and Anne just after the 
departure of the guests invited to celebrate their 
fifth anniversary. There is no longer any pre- 
tense of affection between them. They very 
evidently hate each other, and are at no pains 
to conceal the fact. Fault-finding turns to out 
and out quarrelling Martin threatens Anne, 
and Anne screams. 

MARTIN: Now are you satisfied? A man heard 
you screaming. He thought something was the 
matter. 

ANNE: The very neighbors will talk about us. 
Thank God, no one I know lives near here. 
MARTIN: (Growls under his breath). Fat lot 
of difference. (Looks aiound on the table). 
Did they leave anything. Oh, nobody ever left 
me anything. Fine crowd you go with. You'd 
think they never get anything to eat. 
ANNE: (Turns from him, apparently accus- 
tomed to his grumbling). 

MARTIN: That's all they come here for. To 
stuff themselves. Every plum fingered and 
squeezed. Want to be sure what they bite into. 
Too bad about them. Such delicate stomachs 
they have. Not even an olive. 
ANNE: (Keeps her back turned to him). 
MARTIN: (Reaches across the table for seme 
morsel that attracts him, and accidently pushes 
the wax flowers that Howard gave them. The 
ornament falls to the floor, and breaks.) 
ANNE: (Bursting into a frenzy). Howard's 
present! You broke the one thing I have of 
his! I'd like to take a horse-whip to you! 
(She ficks up the wax flowers and puts the 
broken piece in place.) 
MARTIN: I didn't do it purposely. 
ANNE: You did, too. (She sets it on the table. 
Then, almost to herself:) Question your 
hearts! 

MARTIN: (Sneering). Oh, anything connected 
with him 

ANNE: Yes, oh, wh> didn't I marry him? I'd 
be living in luxury this minute. 
MARTIN: (Angrily). I won't have you throw 
that up to me. You couldn't get Mm, and you 
know it. 

ANNE: I could! He asked me over and over 
again. 

MARTIN : He asked ! He wouldn't give that 
for you. (Snaps his fingers.) 
ANNE: He lov:d me. He still does. I real- 
ize it more every day. 

MARTIN: Then why doesn't he ever write? 
Answer me that ! 

ANXE: Why should he? I haven't treated him 
so well. I don't blame him. I suppose if he 
does write, you d take good care that the letter 
never reaches me. 

MARTIN: That's what 1 ought to do. I have 
no use for him at all. I'll tell you why he 
doesn't write. He's rich he's a swell now. 
no use for his old friends. He wouldn't 
look at us now That's the kind he is. 
ANNE: No! He's the kindest truest 
MARTIN: Oh, I know what you think of him. 
That's why you have no time to think of me. 
You say you had your choice of the two of us. 
I wish to God you had taken him. 
ANNE: We agree on that, at least. 



[20] 



Theatre Magaiine, July, IfJi 



"The Charlatan," at the Times 
Square, is not only a mystery 
play throughout its 3 acts, but 
oddly enough, it remains a 
mystery after one has left the 
theatre. Here we see Count 
Cagliostro (Fred Tiden) amaz- 
ing his audience with the fa- 
mous Hindu sword trick. 










Apeda 

Jenny (Marjorie Rambeau), in "The Gold- 
fish" at the Maxine Elliott, easily convinces 
Mr. Power (Robert T. Haines), that she 
is an expert in palmistry. 



Claude King, the critic on his 
brother's newspaper in "What the 
Public Wants," eventually wins the 
love of the actress (Margaret 
Wycherly), who fully intended to 
marry the forceful newspaper mag- 
nate (Charles Dalton), but in the end 
couldn't stand his slogan, "Give the 
Public What It Wants." 



MYSTERY AND 



SATIRE 

[21] 



IN NEW PLAYS 



MARTIN: We do, indeed. I'm in the damndest 
trap a man was ever caught in, and I guess 
I'll have to ?tay in it. You know it. I won't 
let the world find out that I'm dissatisfied, and 
you know that too. (Passionately.) No.^one 
shall ever say "I told you so" to me ! 
ANNE: Nor to me. No one shall ever find it 
out. Be easy on that score. 

MARTIN: Why hide your real motive? While 
we live together, I have to support you. That's 
why you'll brave it out. 

ANNE: I suppose you have some other woman 
that you'd rather spend your money on. 
MARTIN: If you think so, why don't you get a 
divorce? 

ANNE: I wouldn't give you the satisfaction. 
MARTIN: (Contemptuously). Well, that's in 
keeping with your usual tactics. You've never 
respected my wishes, and you never will. How 
could I expect anything else from a wife who 
won't even have children? 
ANNE: No, I have none, and now I'm glad of 
it. Oh, if you only knew how glad! That's 
the one thing I thank God for. At first I meant 
to wait until we could raise them in health and 
comfort. But now I wouldn't have them for 
anything in the world. 

MARTIN: Because at the bottom of your heart 
you love Howard, and you know it. With him 
it would have been different. I owe that to 
him too. You do love him, don't you? (Furi- 
ously.) Answer me! 

ANNE: Yes 1 (Then quietly). Listen to me, 
Martin. When I married you, all I thought of 
was love. I was brought up on that sort of 
thing, like a silly girl in a silly novel. I didn't 
know what it would mean to see you every 
morning and every night, to look at you across 
the table, to share your petty little worries, and 
to cater to your nasty little whims. You you 
I didn't know what "forever" meant. That was 
never explained in the novels. Now, when I 
think of Howard even now, if he were here, 
I could open up my arms to him, and 
MARTIN: (Wildly). Shut up. 
ANNE: Do you know why we have no chil- 
dren? 

MARTIN: (Sneering). Well why? 
ANNE: (With feverish intensity). Because I 
won't bear a child to a man I hate! 
MARTIN: (Overcome). My God! Come here. 
Let me look at you. (Takes her by the should- 
ers, and regards her steadily.) How in the 
world did I ever come to marry you? 
ANNE: (Laughs bitterly). How indeed? 
MARTIN: Yes, I know why I did. You at- 
tracted me, as one animal attracts another. But 
the animals are wiser than I am. They don't 
remain together too long What do I want 
with you now ? You're not attractive to me 
any more. Attractive! God no! I find you 
repulsive. (Turns from her.) 
ANNE: That's your real _ 
grievance; isn't it? 
MARTIN: It may be what 
underlies our unhappiness. I 
don't know. In any case, it 
makes our life no easier. 
ANNE: We have no chil- 
dren, and you find me re- 
pulsive I wouldn't give you 
a divorce for anything in the 
world. 

MARTIN: Don't lie. That's 
not it. You're afraid of 
what people would say, and 



so am I. (He resigns himself to his lot -with a 
deep sigh.) We have to live together (he 
turns on her with fierce loathing) but if you 
ever dare to speak to me again, I'll strangle 
you. 

ANNE: I have no wish to speak to you, or 
to have you speak to me. (She goes into the 
inner room, closing the door behind her.) 

Five years have passed between scenes 3 and 
4. Anne and Martin have been married for ten 
years and for one-half of that time they have 
not exchanged a single word. They completely 
ignore each other's presence. 

At the opening of scene 5, neither Martin nor 
Anne have yet spoken, although five years have 
passed, and they have now been married fifteen 
years. 

In scene 7, the feeble-minded, feeble-bodied, 
deaf, old couple have reached the 50th anni- 
versary of which they spoke so hopefully in 
the first scene. 

MARTIN: This is our golden wedding! Our 
anniversary. 

ANNE: (Trying to remember). Our anni- 
versary. (For the first time, she puts down 
her knitting). 

MARTIN: We made a compact, Anne. A fifty- 
year-old compact. 
ANNE: To question our hearts. 
MARTIN: I feel as if my memory is a dying 
fire, that is flickering for the last time. When 
I fold up this letter, the fire will go out. 
ANNE: Howard reminded us. Why didn't he 
write? Howard always writes. 
MARTIN: What are you saying, Anne? You 
know about Howard. 

ANNE: Howard! (She becomes strangely ex- 
alted. Her eyes shine, and her face is aglow). 
Howard! (She seems to be speaking to him). 
Do you really want me? Yes; of course I 
love you. Always, always. There never was 
any one else, Howard. Never any one else 
but you. Do you want me? I'll come to you, 
if you want me. Anywhere, Howard. Any- 
where. When you hold out your arms. I 
know I know Howard 

MARTIN: Howard is dead, Anne. Dead for 


years. 

ANNE: Dead? (She shrinks again to her 

former pitiful self; her exaltation is all gone). 

Oh, Howard is dead. Yes. 

MARTIN: This is our anniversary, Anne, ours. 

ANNE: Our anniversary. That's when we 

readjust our marriage. 

MARTIN: We try to, but we fail. Our marriage 

has been a failure, Anne. 

ANNE: It didn't have to be. 



THE NEXT PLAY 

To Be Given In This Series Will Be 

"THE HAIRY APE" 

A Comedy of Ancient and Modern Life in Eight Scenes 
By EUGENE O'NEILL 

Author of "The Emperor Jones," "Anna Christie," Etc. 



MARTIN: No. It might have been different. 
ANNE: If there were children. 
MARTIN: We'd have loved them, not each 
other. Howard loved you. You should have 
married him. 

ANNE: I left an order to keep white flowers 
on his grave. 

MARTIN: Why white ones? I don't like white 
flowers. 

ANNE: They're so peaceful. 
MARTIN: Anne, if I die before you, will you 
put flowers on my grave? 
ANNE: Yes. 

MARTIN: Not white ones, though. Red flowers 
are more human. I'd like red flowers above 
my head. You must do that if I die first. 
ANNE: All right. But if I die first, I want 
white ones. 
MARTIN: All right. 

ANNE: (Takes up her knitting). Let's go 
ahead with our game. 

MARTIN: (Fiercely). No! no! (With an- 
guish). I'll never remember again. Put down 
your knitting, and help me! 
ANNE: (Puts down her knitting). 
MARTIN: We must adjust our marriage for 
the last time. Anne! Anne! Let's succeed this 
time. 

ANNE: Why? We haven't many years te 
live. 

MARTIN: Can't we at least forgive each 
other? 

ANNE: When life is wasted, what good is for- 
giveness? 

MARTIN: I've been a bad husband. 
ANNE: As good as I've been a wife. 
MARTIN: The world thinks it has been a per- 
fect match. I've always told you so. Have 
you? 

ANNE: Yes. 

MARTIN: Oh, Anne, you're right. Forgiveness 
can do us no good. Nothing can. (He starts 
to fold up the letter). The last reminder of 
our real lives. Married fifty years! Mar- 
ried fifty years! Married (He has put the 
letter away. He suddenly turns to her with a 
joyous laugh). Married! Anne! Isn't it wonder- 
ful ! We're actually married ! Married and in 
our own home ! 

ANNE: (Smiling happily). Our own home! 
MARTIN: We'll show our friends that marriage 
can be a success. Won't we? (He puts his arm 
around her). (They sit side by side on the 
sofa). 

ANNE: And every anniversary we'll question 
our hearts. 

MARTIN: Why, the paper 
wedding is only one year off. 
ANNE: What will our hearts 
tell us the first time? 
MARTIN : That we'll spoon, 
and spoon I think I'll turn 
down the lights, my sweet- 
heart. (Gets up to do so, 
forgets, sits down at the 
table, and picks up the 
cards). Who deals? 
ANNE: (Picks up her knit- 
ting, and automatically sits 
opposite him). I dealt last. 
CURTAIN 



[221 



Theatre Magazine, July, 



(Below) 

BLANCHE YURKA 

This distinguished ac- 
tress, now lending the 
charm of her rich voice 
and stately presence to 
"The Lawbreaker," will 
probably be seen here 
next season in "Monna 
Vanna," a play more 
worthy of her talent and 
in which she has already 
achieved success under 
the direction of Stuart 
Walker 



Goldberg 



(Right) 

MARY NASH 
As heroine of the thou- 
sand and one thrills of 
"Captain Applejack," this 
picturesque and always 
interesting actress re- 
turns to Broadway after 
a prolonged absence spent 
in touring to the Pacific 
coast in "Thy Name Is 
Woman," following a 
lengthy run abroad in 
"The M a n Who Came 
Back" 



VIOLET HEMING 
Vivacious and charming 
as ever, this popular star, 
now lending what distinc- 
tion is possible to "The 
Rubicon," was last seen 
here in "Sonya," a play 
which gave little oppor- 
tunity to that talent dis- 
played in such successes 
as "Three Faces East," 
"Under Cover" and 
"Under Fire" 




pbell 



HELEN HAYES 
That the delightful child 
of "Dear Brutus," and 
the precocious sub-deb of 
"Bab" and other classics, 
should some day grow up, 
was, of course, to be ex- 
pected. As the clever 
young wife in "To the 
Ladies" Miss Hayes has 
achieved majority so 
charmingly that we find 
her even more endearing 
than before 



Tampbell 



TALENT AND 



BEAUTY 

[23] 



O N 



BROADWAY 




THERE is joy along Broadway, as 
well as elsewhere. Luna Park comes 
down to its old ten-cent admission 
charge this summer. 



JVEN a show girl appears to have illu- 
sions which can be shattered. A former 
New York chorus girl, recently married to 
a foreigner with a title, was questioned 
by one of her friends as to how she liked 
being a duchess, or whatever it was. 
"Well," she confessed with a sigh, "I'm 
not crazy about it. The pleasure is only 
momentary, and the position is ridiculous." 



constantly recurring, but never-set- . 
tied, controversy as to whether the art 
of acting ever reached a higher plane than 
it has attained at the present day, had 
waxed warm among a group of theatrical 
people sunning themselves on a mild after- 
noon in Broadway lately, when a retired 
manager, who is in New York now only 
occasionally, had this to say: "I suppose, 
by the art of acting, you gentlemen refer 
primarily to the intelligent, convincing and 
pleasing reading of the text of a play. All 
right! A week or two ago I went in to 
see 'The Bat.' Before I had a chance to 
look at my program the house lights went 
down and the play began. The principal 
character is an elderly woman, and before 
she had spoken twenty lines I was wonder- 
ing who that was with the clear, musical 
voice that came to me without losing a 
syllable as I sat in a back seat. It was such 
a treat to hear those beautiful, clean-cut 
tones, that I was impatient to look at the 
program. I did not remember that I ever 
had seen her before. Well, it was Effie 
Ellsler. That is my only contribution to 
your argument, gentlemen. I first saw 
Effie Ellsler on the stage in 1878, and till 
the other night, I don't think I'd seen her 
since she had this old town by the ears in 
'Hazel Kirke.' She is playing an old 
woman in this present piece, but her voice 
is as sweet today as it was, more than forty 
years ago, when, as a slim young girl, in 
Cleveland, she was the Ophelia to the late 
Joseph Haworth's Hamlet, with her father, 
John A. Ellsler, in his inimitable rendering 
of Polonius. Frank Weston was in the 
cast I think, as Laertes, but am not sure. 
Of course, John Ellsler was the Polonius 
of his day." 



is also his wife, not long ago came to the 
manager of the theatre in which he was 
playing and asked if he might substitute 
himself as a "single" for the rest of the 
week, instead of doing the "double" with 
his wife. "Why, certainly," said the man- 
ager. "Is your wife ill?" "No," said the 
vaudeville headliner, "she has skipped out 
with another man." Whereupon the man- 
ager extended his condolences. "And do 
you know," the dancer continued, "this 
isn't the first time she has done it. Three 
years ago, she ran off with a musical di- 
rector, and last year, with a doctor." 
"But," protested the manager, "you don't 
mean to say that you always take her 
back?" "Take her back?" repeated the 
actor, in surprised tone. "Why, sure I 
take her back. She's a great performer!" 



men, many minds. That observa- 
tion is as true of actors as of other 
people. So, therefore, a certain well-known 
thespian who was interviewed not long ago 
in this publication was merely expressing 
his personal opinion when he replied to the 
question of a certain Countess, "The peo- 
ple of the stage are not invited to such 
homes as I have been to?"- -"They are 
certainly not!" As a matter of fact, vari- 
ous players are on intimate terms with 
fashionable folk. The smart affiliations of 
Ethel and John Barrymore and of Maxine 
Elliott are self-evident. Other notable in- 
stances, to mention a fe^ out of many, in- 
clude William Faversham, who has long 
been a social favorite, his hostesses having 
included the late Mrs. George Gould (who 
had been Edith Kingdon of Daly's Thea- 
tre). After his ill-fated opening night in 
last season's revival of "The Squaw Man," 
Mr. Faversham gave one of the smartest 
supper-parties in many a day, the guest of 
honor, of course, being his leading lady, 
Mrs. Lydig Hoyt, sister of Mrs. Van Rens- 
selaer King, and daughter of Mr. and Mrs. 
Julian Robbins, of New York and South- 
ampton. 



A VAUDEVILLE actor puts his profes- 
sion above all things. A very success- 
ful dancer in the two-a-day, whose partner 



and M rs. J_.__Hartley _ JVIanners 
( Laurette Taylor ) , occupy an assured 
position socially, and have entertained smart 
assemblies in honor of their special friend, 
Miss Mary Hoyt Wiborg, sister of Mrs. 
Sidney Webster Fish, therefore allied with 
Mr. Stuyvesant Fish. Last Winter at Palm 
Beach, Mr. and Mrs. Claude Graham- 
White (Ethel Levey, the first wife of 
George M. Cohan, and mother of 
Georgette Cohan), renewed their intimacy 



with the fashionable colony, especial friends 
being Mr. and Mrs. Edward T. Stotes- 
bury, whose estate near Philadelphia is one 
of the finest in the country, and Mr. and 
Mrs. Joseph Widener, also millionaires, of 
Philadelphia and Newport. Madame Mar- 
guerite Sylva, the singer, whose early ex- 
perience was in comic opera, moves in this 
same set. Mr. Eugene O'Brien, formerly 
of the stage, but now of the movies, has 
long been encountered in company with 
Mrs. William Jay, widow of a direct 
descendant of one of the signers of the 
Declaration of Independence, she having 
been a sister of the late Hermann Oelrichs 
and the mother of Mrs. Arthur Iselin. 
These are all names to conjure with in the 
smart set, so it is quite evident that the 
next time a Countess inquire if stage peo- 
ple are entertained by the elite, she might 
well be told "Some are, and some are not !" 



A CERTAIN handsome actor, twice 
married and twice divorced, met one 
of his former wives at an after-theatre sup- 
per in one of the exclusive rendezvous of 
New York and under the influence of a 
momentary reawakening of the old love, 
he proposed to her all over again and was 
accepted. The marriage was arranged for 
the next morning, and the groom-to-be 
made an appointment to call for his former 
mate at nine o'clock. This done, the actor 
hurried to his hotel to catch a little sleep. 
In the lobby, he encountered an old friend, 
and asked him to be best man. The friend 
was delighted, and the two went up to his 
rooms for a "night-cap." It seems that 
the night-cap resolved itself into a long 
series of toasts in honor of the coming 
affair, and after about the tenth one, both 
men fell asleep. The actor was awakened 
by the best-man-to-be. "Wake up, old 
man," he shouted, "it's almost nine o'clock !" 
The actor scrambled to his feet, and went 
to the phone. He called up his former wife. 
"Sorry, -my dear," he explained, "but I'm 
afraid it's going to be a little after nine 
o'clock before I can get there. But I 
won't be very late.'' "Say," came back 
over the wire, "don't hurry. That mar- 
riage was set for Tuesday. This is Wed- 
nesday." 



announcement that Bartley Camp- 
bell's "White Slave" may get to the 
movies interests a great many old actors. 
Few of those who were "hitting the grit" 
in the one-night stands, with occasional ap- 
pearances in the cities, including New 



[24] 



Iktatrt Maiatine, July, 




Edward Thayer Monroe 

MARY EATON 

Becoming more Marilyn 
Millerish every season, this 
charming girl has danced 
'her way into the hearts of 
many "Follies" enthusiasts 
which means just about all 
of us. 



Edward Thayer Monroe 

IRENE MARCELLUS 

Who graduates from the 
curriculum of the Ziegfeld 
Roof this season to be seen 
in the 1922 edition of the 
"Follies." 




Edward Thayer Monroe 

HELEN LEE 
WORTHING 

Another distinct per- 
sonality of the new 
Follies, who formerly 
appeared in the Mid- 
night Frolic. 




Muray 

EDNA FRENCH 

"Now lending her quite evident charm to the Zieg- 
feld Will Rogers' Show in Chicago. 



Edward Thayer Monroe 
KATHRYN MARTYN 

In addition to gracing "the Follies," this person- 
able English girl claims the distinction of being 
mascot to the Royal Flying Corps. 



ONE COMPENSATION FOR REMAINING IN TOWN THE NEW FOLLIES 

US] 



York, some thirty years ago, can say they 
never took part in a Bartley Campbell 
drama. As "The White Slave" toured the 
country for a generation, most of them got 
into it at some time or other. Harry Ken- 
nedy, many years its manager, used to say 
that he had played every male part in the 
piece at various times, to fill an emergency. 
The bets along Broadway are fifty to one 
that, if the "Slave" really does reach the 
screen, one of the sub-titles will be that 
famous, and always effective, bit of bathos, 
placed in the mouth of the heorine: "Rags 
are royal raiment when worn for virtue's 
sake." To use a vaudeville expression, that 
speech was always "sure-fire hokum." 



("JOT any Russian roubles lying around 
loose" 1 If you have, better put them 
away in the safe, because if the credit sit- 
uation is straightened out in Russia some 
of these days, they may jump into money. 
Morris Gest is reported to be holding 
$100,000 of them, and if they get back into 
the neighborhood of their original value, 
he'll be able to cash in handsomely. If 
they continue to depreciate, he can always 
tear 'em up and use them for confetti. 



pRED STONE, now one of the highest 
paid actors in America which likewise 
means, in the world can remember the 
time when he and his partner, the late 
Dave Montgomery, were dividing $75 be- 
tween them at the end of the week. That 
was in the days when they were a team in 
vaudeville. 



that the old Morton House has 
disappeared, and the famous Union 
Square Theatre is soon to follow, it may be 
said that the last reminiscence of what used 
to be the theatrical Rialto will vanish. With 
the actor's stamping-ground well above 
Forty-second street, and impinging on 
Columbus Circle, it is not easy to realize 
that in the eighties the pavement from 
Broadway to Fourth avenue on Fourteenth 
was the Thespian centre. But then, there 
were comparatively few theatres in New 
York at that time, and those connected 
with the profession did not require so much 
room as today. That little stretch of pave- 
ment in front of the Morton, while gen- 
erally busy, was never uncomfortably 
crowded, and some people say that the thea- 
tre was quite as interesting then as now, 
though it did not cost nearly so much. 



AMELIA STONE, whose name broke 
into the papers lately in connection 
with some legal matter, is little known to 
the present generation. But the daddies of 
the jazz-lovers of today remember her as 
one of the most popular light opera singers 
that ever sang the real music of a quarter 
of a century ago. She was the star of 
"The Chinese Honeymoon" for some few 
seasons, but she also sang the prima donna 
roles in most of the Gilbert-Sullivan, Of- 
fenbach, Lecocq, and similar works that 
tickled our ears before the devastating ar- 
rival of ragtime and jaz. 



she's not much of an artist when it comes 
to the other arts. In fact, her career has 
left her quite uncontaminated by culture. 
It's simply gone over her head and she's 
never missed it. Not long ago, however, 
a man upon whom she wished to make a 
good impression started to talk "highbrow 
music" to her, and ended by inviting her 
to a symphony concert. She concealed her 
true feelings, and accepted. She thought 
that by saying nothing, and sighing as soul- 
fully as she knew how, she would give the 
right effect. As it happened, they were 
delayed in reaching the concert hall, and 
the program was already under way. Go- 
ing down the aisle, she whispered to the 
usher: "What are they playing now?" 
"The Fifth Symphony," was the reply. 
"Thank heaven," breathed the actress, "I've 
missed four of "em!" 



'Y'HE filing of state income tax returns 
gives one a breath-taking glimpse of 
what it means to be a star. One favorite 
of the stage, in her statement, confesses to 
an expenditure of $60,000 in one year, 
which ought to be ample to keep her back 
covered although that's the last thing in 
the world she ever thinks of doing. Other 
stars reveal outlays running into five fig- 
ures. Women in the theatrical profession 
are allowed to deduct expenditures for 
paint and powder in making their returns. 
That is no more than right, when you stop 
to consider that some of them, at least, 
seem to depend more upon paint and 
powder than they do upon silks and satins 
to obliterate their er deficiencies. 

/. 



one time, not so many years ago, it 
was considered infra dig, for a high- 
class actor to appear in vaudeville, but that 
illusion was forever shattered when Sarah 
Bernhardt, one of the foremost players of 
her generation, filled various engagements 
in the Continental music-halls, her example 
soon being followed in England by Mrs. 
Langtry and other popular players, Ameri- 
can audiences similarly applauding Ethel 
Barrymore and similar stars. The next 
point that presented itself was the cabarets, 
the same old cry being raised, "Undigni- 
fied !" Nevertheless, during the past season, 
Irene Bordoni, the charming French come- 
dienne who was starring in "The French 
Doll," appeared nightly at a cabaret, fol- v 
lowing her theatrical performance, wearing 
elaborate costumes and singing a few dit- 
ties, for the acceptable remuneration of 
$2,000 a week. "And very nice, too!" as 
our English cousins say. 



gHE'S an actress in musical comedy, and 

although she's an "artist" in her line 

and when it comes to drawing a big salary, 



/^J)URING the past season tens of thou- 
sands of out-of-town visitors in New 
York have expressed astonishment at the 
now well established custom of smoking 
cigarettes in public on the part of the better 
class of women. Not only in restaurants 
of the highest calibre, but also at the lead- 
ing playhouses. Some theatres have in- 
stalled smoking rooms for the ladies, others 
permitting men and women to smoke to- 
gether, as at the Music Box. During fash- 
ionable first nights many women sauntered 
through the lobbies and even wandered to 
the sidewalks, for a few puffs. Which re- 
calls the sensation created a generation ago, 



\vhen the noted English actress, Mrs. 
Patrick Campbell, lit a cigarette in the 
lobby of a smart New York hostelry. Re- 
quested by the management to desist, she 
refused to comply, so, with her pet dog, 
Pinky-Panky-Poo, she was required to de- 
part in peace, thereby obtaining newspaper 
publicity aand valuable advertising. 



particularly striking evidence of the 
bad effects of the past season was the 
number of players of leading parts, even 
stellar roles, who were seeking engagements 
almost as persistently as were interpreters 
of lesser characters. Marjorie Rambeau 
and Grace George each starred in two pro- 
ductions, Helen MacKellar having been the 
featured player in three. Helen Hayes and 
Otto Kruger, who finally made Tiits^in "To 
The Ladies," had each been in two fail- 
ures, W_ilh'am_Faversham starring in three 
pieces in one season. Helen Menken, 
Margalo Gilmore and Pedro De Cordoba 
played leads in three plays, and _Estelle 
Winwood was in four productions. Nor- 
man Trevor played leads in two pieces 
and starred in two others, while that ex- 
cellent old actor, Fuller Mellish, was in 
five productions, not one of them catching 
on. Some of these ventures lasted two 
weeks in New York, some one week, and 
some closed during the preliminary try-out 
on the road. Even the most astute man- 
agers failed to please the public. William 
A. Brady had five failures, the Selwyns 
had four, George Broadhurst had two, and 
Charles Dillingham had one, "The Scarlet 
Man." Al Jolson tried out and discarded 
an elaborately produced Hawaiian play. As 
George Bernard Shaw says, "You never 
can tell!" 



would you call this a theatrical 
avary, menagerie, aquarium, or a 
combination of all three? Note the plays 
on Broadway at this writing: "Lady Bug," 
at the Apollo; "The Goldfish," Maxine 
Elliott's theatre; "Blue Kitten," Selwyn ; 
"Pigeon," at the Frazee; with "The Nest," 
at the 48th St. Theatre; "Cat and the 
Canary," at the National; "The Bat," at 
the Morosco; "The Hotel Mouse," at the 
Shubert; "The Hairy Ape," at the Ply- 
mouth theatre, and "Bulldog Drummond," 
at the Knickerbocker. 



^ LTHOUGH chorus-boys have remained 
part and parcel of certain recent mu- 
sical comedies such as "Good Morning, 
Dearie" and "The Blue Kitten," other 
productions, "The Rose of Stamboul," for 
instance, relied merely on a double male 
octet. At one time, during the period be- 
fore "comic opera" had become "musical 
comedy," the chorus men were in ludicrous 
contrast to the chorus women. Although 
the latter were expected to be young and 
pretty, the former were old and ugly. 
Then, when "musical comedy" advanced 
to "revue," the blue-chinned, red-nosed men 
were superceded by effeminate youths, 
which was a case of out of the frying-pan 
into the fire! During several seasons the 
Shubert chorus-boys, especially at the Win- 
ter Garden, were regarded by the play- 
house patrons with mingled derision and 
disdain. 



[26] 



Theatre Magatine, July, 




(Center) 

Tony Wil- 
liams, once 
starred in 
"M u 1 d o o n's 
Picnic," tells 
his grand- 
daughter 
(May K e n - 
nedy) stories 
of old theatri- 
cal days. 



Joe J. Sullivan brought back 
the days of the "flannel- 
mouthed" Irish comedians when 
he regaled vaudeville patrons 
with, Where Did You Get That 
Hat, which he composed years 
ago. 





(Left) 

In her day 
Corinne was 
the last word 
in musical 
comedy. To- 
day, in vaude- 
ville, she 
proves she has 
not lost her 

charm. 



Proof the war 
is over was 
demonstrat e d 
by the laughter 
Lizzie Wilson 
evoked when 
she revived 
her famous 
German song, 
Schnitzelbank. 




The popular coon song, My Gal 
Is A High Born Lady, had 
younger Broadway humming it 
when Barney Pagan, its com- 
poser, re-introduced it recently 
at Keith's Palace Theatre. 




VAUDEVILLE APPLAUDS STARS OF YESTERDAY 



[27] 




White 



Prominent stage people who gave their services April 9, last, at the benefit performance of BaliefFs "Chauve-Souris" 
for destitute artists in Moscow, Petrograd and Odessa. From left to right: Balieff, Sam Bernard, Leon Errol, 
Marilyn Miller, Walter Catlett, Laurette Taylor, Al Jolson, Doris Keane, Leonore Ulric, Dorothy Gish, Lillian Gish 

and Morris Gest, the originator of the benefit. 



f\N April 24th last, at the 
Hotel Commodore, New 
York City, the Catholic 
Actor's Guild of America 
gave a luncheon in honor of 
Archbishop Patrick J. 
Hayes, the members of the 
theatrical profession, and 
the dramatic critics. In this 
interesting group, taken 
after the luncheon, are: 
{Left to right standing): 
3. Hartley Manners, Wil- 
liam ' . Court Lee, Robert 
Keith Haynes, Gene Buck, 
Irvin S. Cobb, Tom Lewis, 
De Wolf Hopper, Elizabeth 
Marbury, Donald Brian, 
Daniel Frohman, Pedro de 
Cordoba, Mgr. Joseph H. 
McMahon, Raymond Hitch- 
cock, Rev. John B. Kelly. 
(Sitting) : Erne Shannon, 
William Collier, Mrs. Wil- 
liam Randolph Hearst, His 
Grace, the most Reverend 
Patrick J. Hayes, Arch- 
bishop of New York, Marie 
Wainwright, Hon. W. 
Bourke Cockran (Congress- 
man from New York), 
Virginia O'Brien, Mary 
Tomoney. 






Orucker and Raltes 



STAGE NOTABILITIES 



AT 

[28] 



UNUSUAL FUNCTIONS 



Theatre Magasitte, July, 



Mr. Hornblow Goes to the Play 



GARRICK. "WHAT THE PUBLIC 
WANTS." Comedy by Arnold Rpnnprt. 
Produced May 1, with this cast: 



Sir Charles Worgan 
Francis Worgan 
John Worgan 
Saul Kendrick 
Holt St. John 
Simon Macquoid 
Emily Vernon 
Mrs. Clcland 
Annie Worgan 
Mrs. Worgan 



Charles Dalton 
Claude King 
Moffat Johnston 
Malcom Dunn 
Louis Calvert 
Stanley Hewlett 
Margaret Wycherly 
Jane Wheatly 
Shirley King 
Marietta Hyde 



POLONIUS asked Hamlet what he 
was reading, "Words, words, 
words," was his reply. If you were 
to ask The Theatre Guild what it was 
playing these days, the response would 
probably be the same, "words, words, 
words." It follows up that torrential 
volume of words which it poured out 
over the footlights of the Garrick in 
"Back to Methuselah," with an ex- 
tremely loquacious comedy, very 
lacking in action called, "What the 
Public Wants." But Arnold Bennett, 
who wrote the piece, if not always 
technically expert, is usually enter- 
taining, and in this satire on the 
genius who moulds popular opinion 
through the medium of a chain of 
newspapers Northcliffe was the or- 
iginal butt of his irony Mr. Bennett 
is delightfully breezy, fresh and 
amusing. And then the comedy is 
so superlatively well acted in every 
part and they are very human and 
well drawn characters that Mr. Ben- 
nett has penned that a very much 
weaker piece than this would under 
the circumstances be distinctly worth 
the seeing. 

The protagonist is Sir Charles 
Worgan whose philosophy of success 
is never to try to elevate, but simply 
pander to the commonplace taste and 
insensate curiosity, prurient or other- 
wise, of the average reader. It has 
worked with him and brought him 
millions and a title. But it loses him 
finally the delicate, sensitive and im- 
aginative woman, a young, penniless 
widow, Mrs. Vernon who had ac- 
cepted him. 

It would be hard to imagine a more 
fitting embodiment of the role as 
presented by Charles Dalton. He is 
autocratic, domineering, insistent and 
relentless, a veritable bounder, 
though practically successful, and yet 




withal a one who somehow elicits an 
affectionate regard. Mr. Dalton is 
all this, and so is Louis Calvert, the 
equally dominating manager of a 
theatre who would sacrifice all rather 
than deviate a hair's breadth in his 
devotion to a better art a superb 
bit. So, too, is the dramatic critic 
probably meant to be A. B. Walkley, 
who resigns, largely to show his de- 
testation of the use of the split in- 
finitive. 

Margaret Wycherley's Mrs. Vernon 
is instinct with truth, sincerity and 
graceful charm, and Sir Charles' 
brothers, Francis, inherently refined, 
and John, a severe but honest pro- 
vincial doctor, are portrayed to the 
life by Claude King and Moffat 
Johnson. Nor, in minor roles, could 
the least exception be taken to the 
really finished art displayed by Jane 
Wheatley, Emily Fitzroy, Marietta 
Hyde and Harry Ashford. 



KLAW. "THE SHADOW." A drama 
by Eden Phillpotts. Produced May 1, 
with this cast: 



Nanny Coaker 
Sarah Dunnybrig 
Willes Gay 
Thomas Turtle 
Elias Waycott 
Johnny Slocombe 
Hester Dunnybrig 
Phillip Blanchard 



Kate Morgan 

Louise Randolph 

Dallas Welford 



__ 

Noel Leslie 

Barry Macollum 

Helen MacKellar 

Percy Waram 



THE fact that Eden Phillpotts is 
the author of "The Shadow," 
made the opening of this play at the 
Klaw Theatre an event of aYtistic 
consequence. Mr. Phillpotts' achieve- 
ments in the modern novel have been 
noteworthy; his novels have been dis- 
tinguished by clarity of style, honesty 
and originality. Yet, though he is 
well known to the reading public, 
"The Shadow" is the first of his plays 
to come to the United States. And the 
results have not been very satisfac- 
tory, for "The Shadow" is a tedious 
affair, clouded with dialect and made 
static by over-characterization. 

Of course, these faults are the re- 
sult of the author's earnest desire to 
show a humble group of people en- 
meshed in a provincial problem. The 
speech and manners are similar to 



those of Masefielil, Galsworthy and 
Stanley Houghton. 

A man of seventy-five is cruelly and 
deliberately murdered for little real 
reason. Immediately following the 
murder his nephew, a mild-mannered 
and meek young fellow, declares his 
love for the daughter of the village 
storekeeper. But his meekness harm- 
ed his cause, for the girl rejects 
him and accepts his rival, a primitive 
fellow. Six months later a startling 
complication is revea4ed, for the suc- 
cessful suitor tells his wife that he 
has killed the old man and the re- 
jected suitor publicly confesses his 
guilt in order that he may protect 
the girl he still loves. 

The rest of the story concerns the 
girl's continued and frantic efforts 
to shield her guilty husband from 
suffering the consequences of his 
crime a most peculiar and unprofit- 
able purpose. 

As the girl, Helen MacKellar again 
evidenced her rights to stardom. She 
is a versatile and winsome actress 
with a swift, dramatic instinct. Her 
best work, however, is in the lighter 
moods. 

Dallas Welford, who has many 
splendid characterizations to his 
credit, was at his best in the role 
of a serio-comic butcher. 



SELWYN. "PARTNERS AGAIN." 
Comedy in 3 acts by Montague Glass 
and Jules Eckert Goodman. Produced 
May 1, with this cast: 

MarKi Pasinsky Lee Kohlmer 

Mawru<s Perlmutter Alexander Carr 

Abe I clash Barney Bernard 

Leon Sammett Cameron Clemens 

Mrs. Sammett Mabel Carruthers 

Dan Davis Louis Kimball 

Mozart Rabiner James Spottswood 

Rosie Potash Jennie Moscovitz 

U. S. Commissioner John T. Dwyer 

TF the prosperity of the new Potash 
-^- and Perlmutter show is to be mea- 
sured by the gale of laughter it raised 
on the opening night the S. R. O. 
sign is likely to be a feature of the 
Selwyn Theatre lobby for a long time 
to come. 

Its old stuff, of course most of the 
good things of life have the hoar 
frost of age on them but it's good 



[29] 



stuff, and as long as the racial types 
so cleverly and good naturedly cari- 
catured by Montague Glass form a 
large part of our heterogeneous popu- 
lation, the amusing adventures and 
comic mishaps of the ignorant, yet 
shrewd Jewish clothing-makers, now 
partners in the automobile business, 
cannot fail to give theatre audiences 
unalloyed joy. The comedy makes an 
irresistible appeal not only to the 
Gentile, who has to guess at the 
meaning of many of the Jewish allu- 
sions, but also to the Jew who views 
himself as in a mirror and is intelli- 
gent enough to take no offence in see- 
ing his racial weaknesses and 
oddities deliciously portrayed by 
Alexander Carr and Barney Bernard, 
than whom none could do them better. 
Barney Bernard can be funnier with 
a serious face than any comedian I 
ever saw. In the last act, where he 
is tearfully anticipating a jail 
sentence and gives his wife a list of 
the comforts he'll need in prison 
warm underwear, asperin, nujol, 
mathematic spirits of ammonia, etc. 
he's a scream. But the play is too 
long. Judicious pruning would im- 
prove it. 



APOLLO. "LADY BUG." Farce by 
Frances Nordstrom. Produced April 
17, with this cast: 



Robert Manning 


Fleming Ward 


Paulina Manning 


J.ilyun Taslinian 


J. Claude Ruthford 


Leon Gordon 


Dorothy Meredith 


Leila Frost 


Tutwilxr Thornton 


John Cumberland 


Julia 


Hilda Vaughn 


Viddlars 


Penman Maley 


Marion Thornton 


Marie Nordstrom 


Daniel Dill 


Edward Poland 


Cook 


Ida Fitzhugh 



THERE is a good germ impreg- 
nated in "Lady Bug." But 
Frances Nordstrom, who wrote this 
farce, evidently believed that, having 
conceived a good idea, the dialogue, 
situations, and general structure of the 
play counted for little. It is a de- 
lusion under which many playwrights 
labor. Lady Bug crawls along in a 
slow and monotonous fashion after 
once she reveals her destination. 

The good idea is this: A well- 
meaning, Dulcy-like woman, of the 
reformer type, goes in for all the 
latest fads, cults, religions, and social 
philosophies. After delving in all 
the ists and isms, she decides to 
brighten the lives of criminals after 
they are discharged from various 
penal institutions. The curtain goes 
up on a scene in her home where a 



reception is in progress for a murder- 
er she has taken under her wing. 
She presents him with a bouquet, a 
pretty little speech, introduces him to 
her friends, and then puts him in the 
blue guest-room of her home. There 
the good idea ends. Every one can 
foresee the outcome. The remainder 
is repetition, and emotional speeches 
by the Lady Bug to the effect that 
"evil does not exist." 

John Cumberland, with his dry and 
quiet humor, and his drolleries, works 
hard to make "Lady Bug" move at a 
faster pace; Marie Nordstrom catches 
exceedingly well the spirit of the char- 
acter she portrays; and Denman 
Maley, as the butler, and Edward 
Poland, as the pampered criminal, 
who turns out to be merely an alimony 
dodger, give adequate support. 



RITZ. "THE ADVERTISING OF KATE." 
Comedy in 4 acts by Annie Nathan 
Meyer. Produced May 8, with this 
cast: 



Miss Wanda 
Mr. Dell 
Brandeth 
Sam 

Wally Ziegler 
Robert Kent 
Sadie Ryan 
Thaddeus Konx 
Kate Blackwell 
Diana Verulman 



Maud Sinclair 

Louis Fierce 

Frederick J. Waelder 

Gardner James 

Bertram U'Ren 

Leslie Austen 

Fay Courteney 

Byron Beasley 

Mary Boland 

Helen Gill 



Aunt Maisie fejrs. Thonjas^Whiffen, 

Miss Levinsky Gertrude Mann 

Mrs. Muldoon Peggy Doran 

ANNIE NATHAN MEYER may 
her sort increase has taken an 
old idea (are there any new ones?) 
and made it the basis of a new and 
interesting comedy. 

Kate Blackwell, the senior member 
of a successful advertising firm and 
unconsciously in love with her junior 
partner, Robert Kent,, is a perfect 
wonder at advertising commodities; 
but when she sees another woman 
calmly robbing her of the man she 
wants, and proceeds to retrieve him 
by mixing business with sentiment and 
advertising herself, she almost comes 
a cropper. All this, as well as how 
she recovers herself and wins her 
man, is interestingly set forth in the 
play, which has now and then a dull 
moment offset by many bright and 
some brilliant ones. 

The play is richly cast. First men- 
tion as well as honors must be given 
to Mrs. Whiffen, who as the hero- 
ine's aunt and the dea ex machina is 
as charming and attractive as pos- 
sible. Mary Boland need feel no 
pang at giving precedence to such an 



artist, since her own claims to ar- 
tistic excellence are assured by an 
all-around fine performance of "Kate." 
Especially well done was the tense 
scene with Byron Beasley in the third 
act. 



NEW AMSTERDAM. RUSSIAN 
GRAND OPERA. Heard for the first 
time in New York, May 8. 

THAT this Russian Company is still 
in existence and giving evidence of 
study life after some years of wand- 
ering far from its homeland, should 
be a matter of wonder and admira- 
tion. It is true that the company is 
small, so small as to be totally in- 
adequate to the giving of perform- 
ances in the grand manner to which 
we are accustomed. It is true that 
there are no first- or even second- 
class voices among its principals or 
in its ensemble. It is also true that 
the orchestra plays raggedly and 
wanders from the key now and then; 
the scenery is crude and sometimes 
atrocious. But it is also true that the 
members of the company work to- 
gether with a seriousness and unity 
of purpose which achieves results that 
cannot help being admired and re- 
spected by the sympathetic listener. 
Then, too, they have made it pos- 
sible for us to hear operas, some of 
them like Dargomizsky's "Mermaid" 
and Rubinstein's "Demon" written 
long ago, but of which we know al- 
most nothing; as well as others of 
later date like Rimsky-Korsakov's 
"Tsar's Bride," full of exquisitely 
beautiful music and well worthy a 
place in the permanent repertoire of 
our own opera house. 



BELMONT. "EMPY/' Comedy in 
3 acts by J-_C. Nugent and Eliott 
,. Nugent. Produced May 15, with this 
cast: 



Ruth Bence 
"Dad" Bence 
"Ma" Bence 
Jane Wade 
Katherine Bence 
Ben Wade 
"Kempy" James 
'Duke" Merrill 



Ruth Nugent 

J. C. Nugent 

Jessie Crommette 

Helen Carew 

Lotus Robb 

Robert Lee Allen 

^Elliott Nugent 

Grant Mitchell 



A HOME-MADE theatrical dish 
this, and, like many domestic pro- 
ducts, quite a palatable little comedy. 
Indeed, it is not too much to say that 
the piece proved one of the most en- 
joyable occasions that the end of the 
season has given us. 

Written by J. C. Nugent, the vaude- 
ville monologist, the play contains all 
the ingredients a veteran of the thea- 



[301 



Theatre Magasine, July, 1<)31 



tre knows so well how to employ 
surprise, humor, clever lines, gaiety, 
human interest. Added to this is a 
certain Barrie-like quality a play of 
fantasy and whimsical imagination 
that makes the entire evening delight- 
ful entertainment. Because the 
comedy reminds one of that other 
charming and highly successful piece 
"The First Year," is nothing against 
it. On the contrary, it proves once 
more that you can't have too much 
of a good thing. 

Kempy, a young plumber with am- 
bitions soaring far above his trade, 
goes into a house to mend a pipe. 
When he quits the job, he has left his 
wrench behind, but takes with him 
the daughter of the home, with whom 
he goes before a Justice of the Peace. 
He has only $11.50 with which to 
start housekeeping, and by the time 
he's through with the Court he has 
only $1.50 and his wrench. 

The piece is admirably acted by 
the Nugent family notably by Ruth 
Nugent, a new-comer, and Elliott 
Nugent, who plays Kempy. Grant 
Mitchell and Miss Lotos Robb also 
add joy to the capable cast. 



ASTOR. "THE BRONX EXPRESS." 
Fantastic comedy by Ossip Dymow. 
Translated by Samuel R. Golding. 
Adapted for the American stage by 
Owen Davis. Produced May 3d, with 
this cast: 



David Hungerstoltz 

Sarah 

Leah 

Sammy 

Reb Kalmon Lippe 

Joseph Hayman 

Jacob Katzenstein 

Casey 

Miss Mason 

Jack Flame 



Charles Coburt^ 

Bertha Creighton 

Hope Southerland 

Sidney Salkowitz 

James H. Lewis 

Joseph Sterling 

James R. Waters 

Thomas Williams 

Mrs. Coburn 

John G. Bertin 



IT would have been difficult for any 
play to have lived up to the pub- 
licity that preceeded "The Bronx Ex- 
press," which was associated with the 
names of four or five producers after 
a much lauded run in the Yiddish 
theatre. 

Its final sponsors are Mr. and Mrs. 
Coburn, who have actually splurged 
themselves on a large production 
which may not bring large returns. 
For "The Bronx Express" is not a 
good play. It may have been good 
as originally written by Ossip Dymow, 
but as adapted by Owen Davis, it 
becomes an unconvincing pot pourri 
of melodrama, symbolism, musical 
comedy, burlesque and vaudeville. 
Such variety of mood and method 



would be permissible if continuity of 
theme and purpose had been estab- 
lished, but neither is maintained or 
even emphasized. 

Both Mr. and Mrs. Coburn are 
badly miscast. Outwardly, Mr. Co- 
burn gives a genuine impression of 
a Jew his beard and clothes are 
representative. But here the impres- 
sion ends. He lacks all the Jewish 
mannerisms, his movements, voice and 
accent are all mechanical and super- 
ficial. He has been quite unable to 
duplicate his work in "The Better 
'Ole," nor was Mrs. Coburn more 
successful in a briefer role. 



TIMES SQUARE. "THE CHAR- 
LATAN." Play in 3 acts, by Leonard 
Praskins and Ernest Pascal. Produced 
April 24, with this cast: 



Mason Talbot 
Eric Stark 
Bryce 
Jagi-Xama 
Annie 
Dhima 
Cagliostro 
Avril Penniston 



William Ingersoll^ 

Craufurd KenF 

Lewis Broughton 

William Podmore 

Florence Johns 

Fania Marinoff 

Frederick Tiden 

Olive Wyndham 



Florence Gilly-Smythe Margaret Dale 
Herbert Deering Purnell Pratt 

Dr. Paynter Edward Powers 

~\f]~ HILE a mystery play is naturally, 
W intended to mystify, the mysti- 
fication should not continue after the 
curtain has dropped on the last act. 
It is one thing to puzzle an audience 
up to a certain point, quite another 
to permit it to leave the theatre still 
hopelessly in the dark. A mystery 
play should not be in the form of a 
serial. Although, perhaps it is the 
intention of the authors, to "continue 
it in our next." But if their sequel 
proves as confusing and irritating as 
the first installment of their mystery 
play no one will care to go and see it. 
The only thing that was at all clear 
about "The Charlatan" was the fact 
that the collaborators got together, 
created numerous baffling entangle- 
ments, with a murder and "who is 
the murderer" plot, and then, finding 
everything hopelessly entangled, made 
no effort to straighten out the puzzling 
situations at the end of the play. 
They evidently argued: "Well, this 
is a mystery play, let the audience 
figure it out for themselves." The 
wife of a magician is murdered. But 
why? Every one in the play acted 
guilty? Why? Why. was the society 
girl in love with the married magi- 
cian? No one knows. No one will 
ever know. Really, no one wants to 
know. A mystery play with a venge- 
ance ! 



FRAZEE. "THE NIGHT CALL." Mys- 
tery play by Adeline Hendricks. Pro- 
duced April 26, with this cast: 

Alice Dodge Elsie Rizer 
The Man Charles Trowbridge 

Martha Stuart-Scott Helen Lowell 

Jerry 1 hompson Jay Hamia 

Mollie Braden Nellie Burt 

George Dodge Dodson Mitchell 

Bob Braden Earle Mitchell 

Edwar 1 Howe Brandon Hurst 

The Other Man Wells Spalding 

THIS play is handicapped at the 
start by the fact that it comes 
after and in certain respects a long 
way after certain others of the same 
genre which are still on view on 
Broadway. One who has not seen 
"The Bat," nor "The Cat and the 
Canary," will be able to extract a 
number of thrills, and some mild and 
reminiscent amusement from "The 
Night Call." 

It is a mystery play of no distinc- 
tion whatever, written with bold 
frankness to be a thriller; and every 
known trick for producing said thrills 
has been employed, even including 
wireless. Little art has entered into 
the making of the play, and in spots 
its cheapness is apparent. 

It devolves upon the actors to fur- 
nish whatever of art the performance 
may contain, and it may be said that 
the amount so furnished is negligible. 
Elsie Rizer, as the heroine, continu- 
ally offends by overacting in an at- 
tempt to drive her points home. 
Charles Trowbridge, on the other 
hand, exercises commendable re- 
straint, and thereby achieves with 
ease the most effective success. The 
other members of the cast manage to 
make their roles moderately interest- 
ing and plausible. 

After all, there have been several 
worse plays foisted on us this season, 
and this one will serve pour passer 
le temps. 



MAXINE ELLIOTT. "The Gold- 
fish," Comedy in 3 acts by Gladys 
Unger. Producer April 17th, with 
this cast: 



Magnolia 

Amelia Pugsley 

Jenny 

Jim Wetherby 

Count Nevski 

Herman Krauss 

Ellen 

Casimer 

Hamilton J. Power 

Wilton 

Duke of Middlesex 



Lucil|e 



Norma Mitchell 

Marjorie Rambcau 

Wilfred Lytell 

Wilton Lackav_e.. 

Ben Hendricks 

Rhy Derby 

John De Silva 

Robert T. Haines 

John Robb 

Dennis Cleughs 



AN excellent French play done into 
hash for the American boulevards 
is the fate of the more or less famous 
"L'Ecole des Cocottes" by Armont and 



[31] 



Gerbidon, on view at the present writ- 
ing under the latest contribution to the 
zoological series of play titles, "The 
Goldfish." That it serves to bring the 
lovely Rambeau back to a stage is 
something that tends to compensate in 
part for the corruption of a semi- 
classic comedy, but cannot stay the 
business of eyebrow-lifting at Gladys 
Unger's authorship of the hammered 
article. When will American writers 
adapters in particular and man- 
agers learn that the purely Gallic 
comedy, as "L'Ecole des Cocottes" is, 
cannot be transported with anything 
of either interest or entertainment re- 
maining unless an effort be made to 
preserve its spirit by retaining the 
scene and characters of the original? 

A "flat in West 24th Street," is not 
the Parisian quartier, and the hard- 
shelled, chorus-brained wife of a jazz 
song writer is not the piquant mistress 
of a young, struggling artist. Nor is 
a play which depends for its humor an 
the idea of the young mistress shifting 
from lover to lover as she climbs the 
social scale through well applied tute- 
lage still humorous when the shifting 
is done by a wife from one husband to 
another to suit her socially ambitious 
purposes. Fun flies out of the theatre 
window with any such effort to apply 
the idea to the "popular mind" and 
conventions of Broadway. What is 
delightful in the original becomes sor- 
did, crass and hideously immoral in 
the alleged "censored" version. I can- 
not believe that Miss Unger is re- 
sponsible in the main for this vulgar 
popularizing of a charming, sophis- 
ticated comedy. 

Miss Rambeau, once a lamentable 
effort at doing a "Kiki" in the first act 
is over, reaches a stride that lends 
charm if not plausibility to the char- 
acter of Jenny, the much married wife. 
There are moments and scenes of 
marked expertness, times when flashes 
of the play's French ancestor shine 
through with fine co-operation by both 
adapter and actress. But, for the 
rest, "The Goldfish" is little else than 
one more brick in the monument to 
stupidity. 



LONGACRE, "Go Easy, Mabel," 
Musical Comedy by Charles George. 
Produced May 8th, with this cast: 

Ted Sparks Will J. Deming 

Mabel Sparks Kstellr Winw.wd 

Mabel Montmorency Ethel Levey 

Edward Drenton James C. Marlowe 
Mrs. Edward Drenton Margaret Dumont 

Bruce Drenton Russell Mack 
George Macdonald Arthur Aylesworth 

Tessie Claire Eileen Van Biene 



IT is a confusing season that presents 
the same artist in two such pro- 
ductions as "The Idiot" and "Go Easy, 
Mabel," the former a grim tragedy, 
the latter an idiotic farce. But the 
versatile Estelle Winwood makes both 
grades, one up, the other down. The 
spectacle of an actress doing anything 
but the same old thing in the Ameri- 
can theatre is so rare that, for all my 
regret at seeing fine talent wasted on 
unutterable piffle like "Go Easy, 
Mabel," I cannot but give three 
huzzas for so admirable a display of 
virtuosity. 

"Go Easy, Mabel" is a stock musical 
show that should never have left stock, 
if indeed it should ever have gone 
into it. It served to bring Ethel 
Levey back to the legitimate stage 
after a long absence abroad. The* 
years have left Miss Levey -un- 
changed ; in her way she is the female 
equivalent of the man who made the 
American flag popular and to whom 
she was once married. She is the 
Yankee sans pareille. And a delight- 
ful Yankee to boot. One, certainly, 
that deserves a better fate than play- 
ing Mabel. I can console myself and 
her only with the thought that she'll 
not play it long. 

GREENWICH VILLAGE. "Bil- 
leted," a Comedy by F. Tennyson 
Jesse and H. M. Harwood, produced 
May 9th, with this cast: 



The result is an evening of entertain- 
ment that is well worth while. 



Rose 

Emmaline Liptrott 
Rev. Ambrose Liptrott 
Penelope Moon 
Betty Taradine 
Colonel Preedy 
Mr. MacFarlane 
Captain Rymill 
Mrs. Brace 



Mary Hughes 

Sally Williams 

Harold Vizard 

Selena Royle 

Lois Bolton 

Lumsden Hare 

Marshall Vincent 

H. Langdon Bruce 

Kate Mayhew 



BILLETED," is one of the war- 
plays that contain -none of the 
horrors of the great conflict. It served 
to relieve the tension of mind of those 
who saw it during the war, and also 
as a successful vehicle for Margaret 
Anglin, who made of its heroine, Betty 
Taradine, an altogether charming 
person. The revival of it at the 
Greenwich Village Theatre by The 
Comedy Company, under the direction 
of Grace Griswold, is a thoroughly 
fine one in all respects, and it shows 
that the comedy has lost none of its 
sparkle during the lapse of time. It 
is provided with a choice cast. The 
four leading players work together 
with the utmost skill and success to 
bring out all its fine points; and they 
are ably seconded by all those to 
whom the minor parts are entrusted. 



PRINCESS. "The Red Geranium," 
Comedy-drama, by Ruth M. Wood- 
ward, produced May 8th, with this 
cast: 



Larry 

Mary 

Bill 

Sallie 

Mid 

Jane 

Elizabeth 

Beatrice 

John Dawson 

The Dope 

The Doctor 

Mary's Mother 

Policeman 



William S. Rainey 

Florence Rittenbouse 

Mary Ricard 

Eleanor Coates 

Robert J. Adams 

Marion Lord 

Kirah Markham 

Mary Donnelly 

Benjamin Kauser 

Donald Bethune 

Frank Andrews 

Mina Gleason 

Edward Fetbroth 



SOMEHOW Greenwich Village 
seems to stand for everything 
amateurish amateur philosophers, 
amateur radicalism, amateur artists. 
And the same thing applies to plays 
which come out of the Village. "The 
Red Geranium" is typical. It is not a 
hardy blossom, and most assuredly is 
destined not to bloom for long. In 
addition to the weak structure, it is 
presented in an amateurish way by 
the entire cast. 

The story is cheaply melodramatic. 
A country school teacher pays a visit 
to Greenwich Village. She attends 
Village parties, and these festivities 
are the only features of the play which 
savor of true Village atmosphere. A 
drug fiend dies at one of these hilari- 
ous entertainments. Sweet little Mary 
then meets a Village free lover. He 
is supposed to be a devil among the 
ladies. Like all Don Juans of the Vil- 
lage he is not the virile, manly type 
that one usually associates with great 
lover roles. Little Mary goes to live 
with him in a combination tea-room 
and apartment. The tea-room is called 
"The Red Geranium." Little Mary 
finds that she is soon to be a mother. 
Her old home sweetheart, faithful 
John, appears and says "my God!" 
several times in a bleating tone of voice. 
John looks and acts like a butcher, but 
he is really a factory superintendent. 

Poor little Mary is moved to a hos- 
pital. Her mother, appearing not much 
older than herself, visits her erring 
child, and forgives her, after exacting 
a promise from Mary that she will go 
through a marriage ceremony. The 
Village free lover refuses her request. 
She plunges from her hospital win- 
dow to her death on the pavement. 
Moral: Virtue is its own reward 
Stay away from the Village, little 
country maid ! This is one of the 
most puerile plays of the season. 



[32] 



Tluatrt Maoa*i*e. July, 




Edward Thayer Monroe 

CONSUELO 
FLOWERTON 

As picturesque as her 
name and with the added 
distinction of having 
rendered a real service in 
gathering in recruits for 
the Navy, by posing for 
the famous Christie navy 
poster, Consuelo Flower- 
ton is now one of the 
bright spots in "Good 
Morning, Dearie." 



(Below) 
ADELE ASTAIRE 

This comely comedienne 
whose amusing antics 
were the one outstanding 
feature of "The Love 
Letter," is now heing co- 
starred with her brother, 
Fred, in "For Goodness 
Sake." 








Pach Bro*. 

CLEO MAYFIELD 

One can even forgive the 
stereotyped title of "The 
Blushing Bride" when 
this personable actress 
plays the title r61e. 



FAIRBANKS TWINS 

The unaffected simplicity 
of these charming little 
girls is largely respon- 
sible for their long and 
successful tour in "Two 
Little Girls in Blue." 



Morall 



COMELY PLAYERS IN 

[33] 



MUSICAL COMEDY 



It's None of the Public's Business 

Players Hotly Resent Criticism of Their Private Morals, But 

By ARCHIE BELL 



MLLE. GABY DESLYS pouted her 
painted lips, pretended to brush a 
tear from her painted eyelashes to a 
lace handkerchief, and then told me plainly 
that she thought the world had abused her. 
She said : "the newspapers have printed such 
terrible stories about me in connection with 
an exalted personage of Portugal .... 
it's wicked and it's cruel." 

Poor little lady in distress! I pitied her 
and I told her so. "Deny every one of the 
stories, tell me that you never knew the 
King of Portugal, declare that all of the 
yarns were mere inventions for the press, 
and I'll wager that every newspaper will 
print what you say," I told her. 

"Non, non, non, that is my personal life 
. . . . It is none of the public's business. 
My acting, yes, that is different, and they 
may say what they please ; but my personal 
life, that's different." 

Gaby could see herself attempting to de- 
rive a bargain in contracts with theatrical 
managers .... in which she proved to 
be an expert .... once the story that 
brought her fame was denied. No, no, 

that was "personal." 

* * * 

LILY LANGTRY once told me prac- 
tically the same thing. Her name also 
appeared in the public prints frequently in 
close proximity to that of a king. She hated 
it and she said so. That was her personal 
life, it was none of the public's business, 
although she told me that she first went on 
the stage because old Edmund Yates sug- 
gested it as a means of making money that 
was much needed at the time. "They are 
breaking their necks to see you in London 
drawingrooms" he said, "so why don't you 
make them pay for it in the theatre?" It 
was an idea that bore fruit and the friend- 
ship of Lily Langtry and King Edward 
remained her best newspaper "copy" 
throughout her career. "But let them dis- 
cuss my acting, say whatever they please 
about my work on the stage" she argued. 
"My personal life is my own and none of 
the public's business." 

But were they correct, these celebrated 
ladies of the stage? Is it true that the 
private life of an illustrious personage is no 
affair of the public's .... particularly 
when that public pays to see them, after 
having been coaxed to do so by reports of 
unusual lives? On the contrary, is it not 
possible that it is the little affairs in pri- 
vate life that are the turning-points from 
obscurity to fame's limelight? 

* # * 

national and international popularity 
go, Miss Laurette Taylor was an 
obscure actress until she met Hartley Man- 
ners, the playwright. He admired her, 
married her, wrote plays for her enact- 
ment, best known of which is "Peg o' My 
Heart." Thus, quite apart from its value 
as a work of art . . . . it has amused 
millions of people .... did not the 



"private affairs of Miss Taylor and Mr. 
Manners give the world what it would not 
have had otherwise? Is it not possible that 
we have a talented actress, widely accepted 
as such, whom we would not have known 
but for their marriage ? I have not the 
pleasure of Mr. Manners' acquaintance, 
but if he be like all the others, I have not 
the slightest doubt that he would tell me 
that their marriage and mutual admiration 
were private affairs and none of the pub- 
lic's business ; and his wife, likely as not, 
would say the same thing. 

* * # 

JULIA MARLOWE and E. H. Sothern 
never pleased the multitude when single 
stars, as they have pleased since they fell in 
love with one another and married. It was 
a very "private" affair for both of them, 
for each had married before and doubtless 
they realized that there is a considerable 
portion of the American public that does 
not smile upon divorce and re-marriage for 
stage people, or other people. Once I 
wrote something about the great value of 
this combination of talent to the art-loving 
public and I remarked that man-like, 
Sothern always had been a big spender, 
whereas, Miss Marlowe, woman-like, 
had been a saver with a thought on the 
possible rainy day. This was very personal 
and private, it appears, and had nothing to 
do with their professional life, for Mr. 
Sothern wrote me a letter and told me that 
it was none of the public's business, or a 
newspaper-writer's business whether Miss 
Marlowe saved her money or spent it. 

But wasn't it? The public gladly paid 
and pays $3 or more to see Marlowe and 
Sothern productions. Were they not far 
better as a setting for Miss Marlowe's 
eloquent acting than the productions in 
which she appeared before the combination 
was formed? Did not Sothern act better 
in company with Miss Marlowe than he 
ever acted before? Were they not able to 
enact the immortal love-scenes of Shakes- 
peare, because they were in love with one 
another? Was it not the "private affair" 
in their lives that concerned the public as 
much as their skill as actors? 



^PERHAPS the world, at least America, 
has had enough gossip and frankness 
about the personal life of Maurice Maeter- 
linck, the Belgian playwright. Perhaps he 
did not advance in the affections of the 
American public by his visit to this country 
a short time ago. There was a vivid 
description of his private life in the press 
at the time, for he had taken to himself a 
new wife and America seemed to prefer 
the older ; nevertheless, what did events in 
his private life do for Maeterlinck as a 
creator of art works for the enjoyment of 
a vast public? 

Maeterlinck was a somewhat moon- 
stricken poet, who recited poems to gas 

[34] 



dames before he fell in love with Georgette 
Leblanc. Then he wrote "Monna Vanna" 
instead of nonsense like "La Princess 
Maleine"; he wrote "The Blue Bird" in- 
stead of works like "Serres Chaudes." Does 
the public not have the right to know that 
the poet's great love for Georgette Leblanc 
inspired him to his noblest achievements? 
Is the private life of such a celebrity no- 
body's business but his own ? 

Did the love of Eleanora Duse and 
Gabriel D'Annunzio not give the world 
that wonderful novel, "II Fuoco" ? Is it 
idle curiosity that prompts a desire to know 
something of the private lives of the char- 
acters in the tragedy or comedy that pro- 
duced this work? 

It was a very intimate and personal re- 
lationship between Richard Wagner and 
Mathilde Wesendonck that gave the world 
"Tristan and Isolde," which the composer 
frankly admitted, although there has been 
a disposition at Bayreuth to overlook the 
written evidence in the case. And it was 
the "personal" or private life of Franz 
Liszt with the Countess d'Agoult that pro- 
vided Wagner's inspiration for his later 
works, as he frequently admitted, and not 
the piano playing or compositions of the 
great master .... the "greatest of 
them all," according to his illustrious son- 
in-law. The world has the right to know 
what transpired beyond the threshold of 
IVahnfried, for "Parsifal" and the "Ring" 
are world property and whatever contri- 
buted to their creation cannot and will not 
be hidden from view. 

* * * 

^CELEBRATED diva does not like it 
to be known or printed that she once 
worked as a housemaid in an American 
home; but this fact should be widely her- 
alded as an inspiration to other housemaids. 
Actresses and singers would too often 
like to have it appear as if they took an 
extended holiday in childhood for the pur- 
pose of obtaining an education, but that in 
reality they were recognized at birth or soon 
afterwards as geniuses, although few of 
them gained the slightest recognition when 
they were legal infants doubtless did not 
deserve it and facts prove that it was some 
comparatively small and a "personal" or 
"private" event that altered their careers 
and contributed much to achievements for 
which they became noted. 

* * * 

ADAME SCHUMANN - HEINK, 
usually the great exception to all 
rules, delights in self-revelation and she 
has lived long enough to know that no 
such thing as private life exists for one of 
her celebrity. When she was approached 
by a rather cautious inquirer on the subject 
of the advisability of a diva becoming a 
mother, she replied: "I have had eight chil- 
dren, and I got a new tone with each 
child." 






Theatre Magazine, July, 192* 




Alfred Cheney Johnston 



MRS. LIONEL BARRYMORE 



Seen this past season in support of her husband in Bernstein's play "The Claw," this actress 
(nee Rankin) will appear on Broadway next fall in a new play. 



[35 



The Stage Honors Rose Coghlan 

Theatrical Notabilities Gather to Pay Tribute to a Fine Artist 

By ADA PATTERSON 



SHE isn't quite sure whether he is 
right, that prince who afterward be- 
came a king, and who advised her not 
to go to America. 

"Why do you go to that country?" he 
asked, in regret and reproof. "They will 
like you there at first, while you are young. 
But it is a young land and they want only 
youth. When you are old you will be for- 
gotten." 

The Prince of Wales uttered the warn- 
ing to Rose Coghlan. They had met at a 
dinner. He had admired her. They met 
again and he admired her the more. He 
regretted her determination to leave the 
cosy little island for the expansive land 
where he told her she would flourish, but 
only for a time. He reminded her that 
they write plays for their elderly actresses 
in England. They give them benefits that 
make them cosily off in mind and body and 
purse in their declining years. 

That was fifty years ago. The Prince 
of Wales became King Edward VII of 
England, served his country diplomatically 
and died as he had lived. Rose Coghlan 
made her journey to America, and has for 
the most part played here, and now she is 
wondering whether the young man who 
was to become a king spoke with as 'much 
truth as force and insistence. For on April 
23rd, at the Apollo Theatre in New York, 
there was dire need of the benefit tendered 
this fine artist by the public and the pro- 
fession. 

MISS COGHLAN was too ill to be 
present. In her deep contralto tones 
Elsie Ferguson read the message sent by 
the veteran actress: 

"To you, dear friends, I must express my 
love and thanks; to the managers and 
artists who have made this benefit possible ; 
to the press, which so sympathetically made 
known my distress to the public, and to 
the public for its generous response and 
rally to my aid. 

"I have loved the theatre, and to know 
how those of the theatre love me is a great 
consolation and happiness. If I must sit 
idly by I shall not complain, because 
through the generosity of each and every 
one of you, dear friends, I am enabled to 
rest comfortably and without worry in a 
little place of my own called 'home' and 
in such happiness I am content, and my 
love and gratitude will be yours always." 

The sum realized from the benefit was 
$10,000. 

Miss Coghlan claims no nest of ease, 
has no yearnings for the quiet life that is 
the summum bopum of the middle aged. 
Her vigor is practically unabated. Her 
love for the stage is undiminished. She 
proved that when, one May night, she re- 
cited at the close of Wallack's Theatre on 
the same stage and in the same costume 
which she had worn thirty-three years be- 



fore, the epilogue written by Oliver Her- 
ford. 

It was she who, when the poet submitted 
to her the draft of his poem, said: "But 
put something about Wallack in it." He 
was king of the stage at that time. "Of 
course, you must put something about Wal- 
lack in it." With rare unction and splen- 




ROSE COGHLAN 

In 1873, at the time she was a member 
of Wallack's famous stock company. 

did authority, she recited the completed 
lines, ending with the four stanzas inspired 
by her, that were a tribute to the vanished 
star of an elder time. 

The audience held her for ten minutes 
before the recitation and nearly as long 
when it was done. She seemed a living, 
resplendent ghost of the great days at Wal- 
lack's and they who had come to seal its 
memories were reluctant to let her go. 
Her last public appearance was in "De- 
burau" last season. 

Last December, at the banquet given by 
the Society of Arts and Sciences to David 
Belasco, at the Biltmore Hotel in New 
York, Miss Coghlan said: "We like old 
wine, old books, old pictures, why not old 
actors ?" 

Is America fickle? Is she faithful? 
Does her taste incline to new faces, fresh 
voices? Or is she more deeply moved by 
old favorites? Rose Coghlan is anxiously 
weighing these questions, for she proposes 
to utilize the time of her convalescence, or 
longer imposed rest, in writing her mem- 
oirs and will combine them with a 
biography of her gifted brother. How 
many will care to read this book? In the 



old fashioned apartment at 253 West 42nd 
Street, where she had lived until destitu- 
tion deprived her of it, one saw a por- 
trait of her brilliant brother Charles. His 
portrait hangs in the place of honor. Her 
heart yields him the same place. None of 
the Niagara of compliments that has poured 
upon her are as gratifying as to hear: "You 
remind me of your brother Charles," or 
"You were as clever as he." 

She is at work upon her memoirs which 
will include much about his meteor-like 
career, and its unhappy end in Galveston. 
In his death, as in life, he was the wan- 
derer. The flood swept his iron coffin 
from his resting place and it has never 
been reclaimed from the sea. 

Charles Coghlan was born in Paris. His 
sister, Rose, followed him upon the life 
stage eleven years later. It was in a play 
presented by her brother, that she first 
walked upon the stage. She was one of a 
group of Spanish dancers. It was seeing 
him in a small part as one of four heralds 
of the king in an old English spectacle, that 
moved her to determine to be an actress. 

The excellence of Rose Coghlan's act- 
ing established a standard in this country. 
When roles, classic or romantic were played 
it was said: "But you should have seen 
Rose Coghlan in that." They said it of 
those who followed her in revivals of 
"Diplomacy," of "Forget-me-not." They 
said it of Peg Woffington. There was 
never quite such a Penelope as she in 
"Ulysses." 

Even now she looks but fifty of her 
two and seventy years. "Why don't they 
write for me at my age?" she asks, the 
Coghlan imperiousness in her tone. "They 
wrote plays for Mrs. John Wood, in 
London, after she was sixty. They wrote 
them for her until she died at my age, 
seventy-two. I wonder if His Royal High- 
ness was right." Why, in the afterglow 
of her life, should an actress of such beauty, 
talent and distinction as Rose Coghlan be 
in need of aid from the public and from 
her fellow mimes? 

Assuming the financial responsibility for 
ill starred plays, heavy domestic obligations, 
"taking the wrong turn of the road" in 
the choice of part or play or management, 
such turn as any actress might take, the 
affliction of a wrenched ankle, a tour that 
was expected to be one of forty weeks but 
terminated after eight, these individually 
and collectively contributed to her need. 

She has retired to a modest home in 
Lond Island, with her adopted daughter, 
Mrs. Rose Pitman, to wait for the long 
rest that comes to all, or to gather vigor 
for more creations and engagements. She 
hopes that the period of inactivity will be 
brief. For the taste of life is still sweet 
upon her tongue. Her buffeted soul is still 
buoyant. 



[361 



'theatre Magazine, July, 



(Below) 
ROBERT EDESON 

Every self-respecting 
mystery play must 
necessarily go in 
heavily for things 
Indie. The dark and 
devious ways of 
Sheiks, Fakirs -and 
Charlatans have al- 
ready been dragged 
before our startled 
eyes. The latest hair- 
raising addition to the 
spook drama, "On the 
Stairs," boasts of this 
forboding looking 
Swami in the person 
of the old-time favor- 
ite Robert Edeson. 





Stroina 



(Right) 

WALLACE 
EDDINGER 

Not only is he a 
live-wire pirate 
skipper in "Captain 
Applejack," but this 
popular actor is also 
some judge of a 
play. When the 
Hackett comedy was 
the reigning hit in 
London, W a 1 1 i e 
snatched it away in 
true Applejack 
fashion right under 
the noses of several 
interested American 
producers. 



HAMILTON 
REVKI.LK 

From Mrs. Fiske's old 
lover in "Miss Nelly 
of N'Orleans" to 
the slippery decks of 
Captain Applejack's 
pirate schooner is 
somewhat of a strain 
on one's powers of 
versatility, but this 
well-known player is 
(juite equal to the 
task. 




Victor Georg 



MATINEE IDOLS IN PICTURESQUE ROLES 



Moliere Man of the Theatre 



World Wide Celebration of the Great French Playwright's Three Hundredth Anniversary 



GANYMF.DK," imperiously ordered 
Napoleon the (ireat, "page Mon- 
sieur de Moliere." 

"I admire your tact, Sire, in not sending 
Iris for him," remarked Hen Jonson. "He 
is still embittered by his unhappy experi- 
ences elsewhere. I will send her for Will 
Shaketpeare." 

The requests for the appearance of the 
two great masters of comedy were the re- 
sult of converse upon a mead of asphodel 
within the Islands of the Mlcssed. A group 
was discussing the news radiated to them 
to the effect that all the world was marking 
with a while stone the three hundredth an- 
niversary of the birth of Moliere. 

Napoleon was arrogating to himself a 
first portion, if not all the glory. 

"The House ot Moliere," he declaimed, 
"is the only theatre in the world on which 
well-nigh three centuries look down upon 
a succession of continuous perform;in< e& 
Its every tradition has been handed down 
direct from the master by a line of actors 
each of whom has his artistic inheritance 
1 10111 Moliere himself. 

"The actors of the Francais were merc- 
Iv scattered throughout the other theatres 
of Paris until I mastered the spirit of 
turbulence as a result of that famous uliitt 
of grape-shot. We 
had no breaking up 
ol all traditions of 
dramatic continuity 
such as the Puritans 
forced upon your 
nation of shop- 
keepers when they 
entirely su|>pressed 
the play-houses of 
your Merry 
Kngland. In France 
1 quickly set the 
drama 1 back upon 
firmer feet than 
ever. My genius has 
ever been for tin- 
dramatic . . . ' 

"Call it theatric, 
your Majesty, and 
let it pass at that," 
chirped Charles 
Lamb. 

"Dramatic or thea- 
tric," insisted Fran- 
cisque Sarcey, "the 
emperor was a true 



By WILLIAM FENWICK HAKKIS 

their stage-manager, the takings of each 
performance were divided into so many 
equal parts. Kach member of the company 
was entitled to a share, or a half share, or 
in the case of Moliere, two shares, one as 
actor and one as director and author." 

"His Majesty preserved that -custom, 
and autocrat though he was, he perpetrated 
the democratic system of the Francais, 
which still makes the troupe the masters 
of the affairs of the house." 

Moliere and Shakespeare strolled in arm 
in arm, chatting merrily together, dis- 
cussing the reason for their summons. 

"There can be but one explanation, my 
dear Jean Haptiste," insisted Will, talking 
in the plain prose which he affected off- 
stage. "They are expecting you to put on an 
impromptu to celebrate your own birthday. 
Everybody's doing it. I'm told you once 
wrote, rehearsed, and acted a piece within 
eight days." 

"C'est vrai, tnon ami," replied Moliere, 
but what of that ? The theatre is the one 
place in the world where you can do the 
impossible. I learned that in my many 
years of trouping. Heigh ho!" he sighed, 
"a hard school, that!" 

"My boy," said Will, 
that school. 



\ears and 



"I envy you those 
That's where you 




Moliere's play "La Princesse d'Elicle," being performed before the King and 
his court at Vcrviiilli-s 



friend to our national theatre. He attracted 
the astonished notice of the world by his 
famous Decree of Moscow. Hy that In- 
firmly reestablished the Theatre Francais." 
"His Majesty showed a real respect for 
the drama," insisted Sarcey. "And at one 
and the same time he preserved for posterity 
the direct traditions of our Moliere and 
kept intact a most interesting economic in- 
stitution. Moliere and his company had 
one of the first systems of profit sharing. 
As shown by the daily records of La Grange, 



learned to fashion those marvellous charac- 
ters that forever hold the mirror up to the 
France of your day. 

"You are generous, Will. You didn't 
need to sit in the barber's chair, as I 
did at Pezenas and watch the types drift 
by. Mon Dieu! How did you form ac- 
quaintance with all that gallery of yours 
of sheer universal humanity, of kings and 
potentates, fools, wise men, poets, noble 
women, from every corner of the firma- 
ment, past, present, and to come? Were 



you your own sprite Ariel incarnate?" 
"In the spacious days of great Elizabeth 
we all thought big. If they don't resemble 
the reality . . . ' 

"Tant pis for the reality, then," laughed 
Moliere. 

"Ah, gentlemen," said Napoleon as the 
two entered, "We have summoned you to 
settle an interesting discussion. Upon the 
works of what dramatic author in the his- 
tory of all time have the greatest number 
of human eyes looked down in actual per- 
formance ?" 

"My friend, Jean Baptiste!" instantly 
answered Will. 

"Suns tinute it is Monsieur Will!" as 
quickly countered the other. 

There ensued a merry bit of generous 
banter between the two great masters of 
comedy. Will called attention to the fact 
that from Moliere's day to this, his rival's 
plays had never been off the repertory 
in his own house in Paris, that other 
theatres in the capital, and notably the 
Odeon, have played him innumerable 
times, and that the provinces have always 
received with open arms the touring com- 
panies that have brought him to them. 
"And think of it!" he cried, "three hun- 
dred years after his birth, Paris has seen 
in one season 
twenty-eight of his 
plays!" 

"M y generous 
friend has no trace 
of envy," said 
Moliere with a 
smile, "but I call 
his attention to the 
imposing host of 
great actors and ac- 
t cesses iii these 
Islands of the 
Blessed who have 
counted it their 
proudest boast to 
impersonate his im- 
mortal crew, and of 
America, as well." 

" 'Tis a pretty 
quarrel," said Rich- 
ard Hrinsley Sheri- 
dan. "Why not 
agree that they both 
win, with the field 
nowhere ?" 
"The more so," quoth Will, "as neither 
of us had any great thought of posterity 
either at the box-office or through the 
printed page. We looked on ourselves as 
mere men of the practical theatre, afford- 
ing entertainment to our fellows and keep- 
ing the wolf from our own doors. The 
play was the thing for us, the play of today 
and of the immediate morrow." 

"At any rate," insisted Charles Lamb, 
"no one ever lived who could better tell 
the world what ailed it." 



[38] 



'Ihealri Magatine, July, 




Abbe 

NORM A TALM AlH ; I . 

Following her appearance in 
the screen version of "Smilin 1 
Through" and "The Eternal 
Flame," Norma will rush to 
California to play th.- much 
harrussed heroine of Edgar 
Si-lwyn's "The Mirage," and 
then to Europe for a vacation. 



Abbe 

CONSTANC'K TALMADGE 

No more "virtuous vamp" r61es 
for Constance. Following her 
appearance in "The Primitive 
Lover," written especially for 
her by Kiljrir Selwyn, she will 
assay her first really dramatic 
rdle as the little Chinese maid, 
Ming Toy. of "East Is West." 



LILLIAN GISH 

Quite appropriately in a medi- 
tative mood, for this sympa- 
thetic heroine of "Orphans of 
the Storm" is soon to start her 
own motion picture company, 
and like most cither movie di- 
rectors she finds it hard to de- 
cide what will make the best 
initial offering. 



Muray 



STARS OF THE SILVER SCREEN 



(Below) 

MAY McAVOY 
The charming Grizel of 
"Sentimental T o ni m y" 
will soon be seen in the 
screen version of William 
J. Locke's interesting 
story, "The Morals of 
Marcus." 








MARY PICKFORD 

And now the movies are 
goi?ig in for revivals. 
This universal favorite 
will soon begin work on 
an elaborate production 
of "Tess of the Storm 
Country," one of her most 
popular early pictures, by 
unanimous request. 



Edward Thayer Monroe 



RUTH GOODWIN 

This newest and youngest of 
the .juvenile stars now appear- 
ing in moving pictures, though 
only eight years of age, plays 
the leading juvenile role with 
WMlliam Farnum in "A 
Romance of the Stage." 





Edward Thayer Monroe 

BETTY COMPSON 

This pulchritudinous screen 

artist, whose intelligent work in 

that unusual and fine picture, 

"The Miracle Man," placed her 

firmly on the road to success, 

will .next be seen in "The 

Bonded Woman." 



Muray 



OLD AND NEW 



FAVORITES 

[40] 



I N 



FILMLAND 



Thratrr Magazine, Inly, 



THE AMATEUR 

By M. E. KEHOE 



STAGE 




Play-Production At The 
University of Washington 

Dramatic activity at the University of Washington, Seattle, has 
broadened and advanced rapidly as a result of courses in acting, 
producing and playwritiug, and since the advent of Glenn Hughes 
^as Director a number of plays of high literary merit have been 
produced. The most recent venture of the group was an original 
and spirited interpretation of Shakespeare's "Taming of the Shrew" 




The action of "The Taming of the Shrew" as the 
University of Washington Players produced it, 
was limited to three settings (illustrated), so ar- 
ranged that practically no waits between acts 
were necessary. A street drop (top) designed 
and executed for the production by Miss Alfrida 
Storm, an instructor in the department of paint* 
ing, was one of the significant features 



[41] 



rpHIS stage set and 

the costumes for 

"The Gold Circle" were 

designed by JMward I. 

R. Jennings, a student 

of costume and design 

at Carnegie Institute 

of Technology 




Setting for "The 
Gold Circle." The 
foreground and tops 
of the rocks glow 
with a brilliant flame 
color. The profile of 
the rocks and the dis- 
tant hills are shad- 
owed in purple that 
fades to a delicate 
mauve 



The Gold Circle 



A Fantastic Play in One Scene 
By THOMAS WOOD STEVENS 

Director, Dramatic Arts Department, Carnegie Institute of Technology 



Cast of Characters 

THE OVERSEER OF THE GOLD WASHERS 

THE GREEK 

THE SLAVE WITH THE GREEN SHIRT 

THE MERCHANT 

THE WAZIR 

THE EMPEROR 

Slaves of the pool; the Merchant's 
Camel-drivers; the Wazir's men; the 
Emperor's Retinue. 

A group of Oriental slaves are washing 
for gold in a pool at the foot of a cliff. 
They are superintended by an Overseer, 
who has a long whip. Above, on the edge 
of the cliff, another slave, the Greek, sits, 
kicking his heels and swinging a stone ham- 
mer idly in his hands. The Overseer takes 
from the gold washers one by one the grains 
of gold that are left in the pans. The 
Greek has left his pan unwashed, and when 
the Overseer comes to it, he looks up for 
the runaway; seeing him above, he calls out 
to him. 

OVERSEER 

Idle and good-for-nothing! Come back to 
your basin. 

THE GREEK 

Patience, good master. I am tired of spin- 
ning the gravel in a basin to find so little 
dust of gold at the bottom. 

OVERSEER 

It is not for you to reckon the gold in the 
basin. 

THE GREEK 

It is needful that someone reckon it, lest 
we waste our labor. 



OVERSEER 

The labor of laying my whip to your back 
will not be wasted. 

THE GREEK 

Again you mistake, master. 
OVERSEER 

(Losing his temper.) 
Come down at once. I'll wait no longer. 

THE GREEK 
And I, master 

OVERSEER 
Come down, I have said 

THE GREEK 
Not so hasty, master, I pray you. It is 




THE GOD 

A gold headdress and a garland of 
encircling gold leaves stand out in 
brilliant contrast against the body, 
which is red. A blue band runs over 
the shoulders 



you I am thinking of and of the gold. 
Listen now. It is only the dust that the 
rains have washed down, into the pools and 
the streams; but in the faces of the cliffs 
the gold must be at home. Where you find 
in the pool a wandering grain, in the cliffs 
will be whole cities of gold, treasures of the 
earth gods that have run away. Look you 
now. 

(He slings his hammer and a mass of 
gravel aod earth falls down the face of 
the cliff at his feet. In the mass is a 
sudden gleam of a great nugget of gold. 
Both the Greek and the Overseer see it. 
The Overseer is for a moment taken 
aback as if suspecting some trick, but the 
~ Greek leaps down after it, and picks it 
up, holding it to the light. Instantly 
the Overseer comes over to him, his whip 
ready.) 

THE GREEK 

What did I tell you, master? 
OVERSEER 

It is a lump of marvel, a king's treasure. 
Give it to me. 

THE GREEK 

Not so hasty, master. You like better the 
dust from the slow washing in the basins. 



OVERSEER 



Give it to me. 

THE GREEK 

Not so hasty, master. You commanded me 
to wash the dust, but I thought better to 
strike upon the cliff and ask what the earth 
gods had left there for me. Behold, they 
have answered. This gold is mine. 



[42] 



Theatre Magazine, July, 




THE GREEK 

SLAVE 

Requires only a 
flowing black 
mantle, and a loin 

cloth of white 



OVERSEER 

(Threatening with the whip.) 
Shall a slave have treasure? Shall a beast 
have that which belongs of right to the 
rich and great of the earth ? 

THE GREEK 

Hold now. Slave I may be, for slaves may 
be wise, but beast -doth a beast take 
thought, and by taking thought find more 
than these washers search out in the circle 
of a year. I have taken thought, master. 
Put away that whip. I am thy slave no 
longer. With this gold I shall buy my 
freedom, and it may be a tall ship that I 
may sail home in splendor. 

OVERSEER 

I'l bring your dreams to nothing. Hold, 
slaves! Set on him. 

( The Greek stands idly swinging his 
stone hammer, the nugget in his left 
hand. The Overseer stands off out of 
reach of the hammer, swinging his whip. 
Slaves drop their basins and circle around 
the two.) 

THE GREEK 

Will you listen to him with the whip, my 
brothers, when I have a treasure that would 
buy you all your freedom? 

OVERSEER 

They will listen, knowing that my whip 
will keep its promise, and that your tongue 
will cheat them in the end. List, ye slaves, 
to him who takes the lump of gold from 
this Greek, I will give his freedom. Set 
upon him. . 

( The slaves close in around the Greek 
who swings his hammer over their heads.) 

THE GREEK 
Now do I know ye to be slaves, indeed. . . . 

(From behind him one of the slaves 
throws his basin against the Greek's legs, 
and from in front, another casts a basin 
of water into his face. He is blinded 
for the moment an! staggers. The slaves 
close in upon him and secure the nugget. 
It passes from hand to hand among 
them, as they clutch it one from another. 
The last one to get it brings it to the 
Overseer, crying:) 




THE EMPEROR 

Is resplendent in a coat and turban of 

bright blue, the latter decorated with 

vari-colored feathers 

THE SLAVE WITH THE GREEN SHIRT 
It was I, master. Now give me my free- 
dom - OVERSEER 

How do I know it was you that took it? 
They were all upon him. 

THE GREEK 

(Brushing off the dust of the encounter.) 
Look now for his promise, slaves, slaves 
of folly! 

THE SLAVE WITH THE GREEN SHIRT 
It was I, master, I who took it. 

(All the other slaves immediately set up 
a great shout and set upon the one with 
the green shirt. The Greek goes off up 
the slope at the back, watching the strug- 
gle. While the uproar is at its height, 
a MERCHANT with his followers, 
servants, and camel drivers enter. The 
Merchant sees what is happening and 
comes down among the combatants). 

THE MERCHANT 
Be silent. What do ye here? 

OVERSEER 

Worthy and excellent master, these are my 
slaves, gold washers of the pool. 

THE MERCHANT 

Your slaves, forsooth! Why then is this 
uproar? Why do you not keep them quietly 
at their task ? 

THE SLAVE WITH THE GREEN SHIRT 
Worthy and excellent sir, at my master's 
word I took this treasure from yonder thief. 
He promised me my freedom. 

( The other slaves set up a shout to drown 

him out). 
Be silent. THE MERCHANT 

(Turning to the Overseer). 
If you have promised this man his freedom, 
why do you now deny him ? 

OVERSEER 

I promised freedom to him who took the 
great lump of gold from yonder thief, but 
I do not know if it be this man. 

THE MERCHANT 
Let me see the lump of gold. 
THE SLAVE WITH THE GREEN SHIRT 
Behold here it is, great and worshipful sir, 



THE SLAVE 
WITH GREEN 

SHIRT 

Wears a white 
loin cloth and 
head covering, 
with a bright 
green shirt laced 

in front 




THE MERCHANT 
I doubt greatly if this be gold. . ' ' 

THE SLAVE AND THE OVERSEER 
(Together) 

Truly it is gold, Worshipful sir. 

THE MERCHANT 
Let me weigh it in my hand. 

( The Slave With the Green Shirt hands 
the nugget to the Merchant, who weighs 
it thoughtfully, looking from one to the 
other). 

THE MERCHANT 

I see that here there is need of a magistrate, 
and as none is likely to come to this pool 
beside the highway, I will take it upon 
myself to judge. 

(To the Overseer). 

It is plain that you have promised to some 
man his freedom, and have not kept your 
word. For this, I will have you bastin- 
adoed. 

OVERSEER 
Worshipful sir, I beseech you 

THE MERCHANT 
Be silent. 

(To his camel-drivers). 
Take him aside and let him be well beaten 
upon the soles of his feet. 

(Turning to the gold washers). 
As for you, slaves, it is plain you have 
conspired among you to set free one of your 
number, although he little deserves his 
freedom. 

( The slaves cry out together, denying 

that they have conspired). 
Whosoever among you cries out, I will 
take to be the most guilty, and my punish- 
ment shall begin upon him. 

(The slaves are silent and downcast). 

THE MERCHANT 

If there be not among you a first con- 
spirator, I will pardon you all. Go back 
to your basins and set to work again. 
THE SLAVE WITH THE GREEN SHIRT 
Worshipful sir, we go back to the gold 
washing. Yet suffer us with all respect to 
ask, worshipful sir, what is to become of 
our lump of gold. 



[43]' 




THE OVERSEER 

h brilliant in a flame color cape, with 

skirt and turban of white. He carries a 

red whip 

THE MERCHANT 

I begin to suspect that you are the 
guilty one. Do you also desire pun- 
ishment? 

(As lie speaks the cries of the 
Overseer under the bastinado are 
heard and the Slave With the 
Green Shirt runs quickly to his 
basin. As he does so, from the op- 
posite side to that by which the 
Merchant entered, the Wazir ap- 
pears with his company), 

THE WAZIR 

Hold ! Why is this man given the 
bastinado? 

THE MERCHANT 

(With a deep salaam before the 
Wazir). 

August Highness, I have ordered this 
man's punishment because he hath 
falsely deluded his people, and hath 
failed to make good his word to them. 
As you know, August Highness, we 
merchants must defend the honor of 
a man's word, lest all our commerce 
be tainted with deceit, and the land 
run wholly to lying and falsehood. 

THE WAZIR 

Is it so? You have taken upon your- 
self to hear this case, yet you are not 
a magistrate. 

THE MERCHANT 

I stood in the place of one having 
authority under the law because this 
pool by the highway was a lonely 
spot, and I looked for no magistrate 
to pass. 

THE WAZIR 

You take too much upon yourself. Let 
me hear the case of the man who was 
beaten. 

(The camel-drivers bring forward 
the Overseer, who comes limping 
and salaams before the Wazir). 

OVERSEER 

Worshipful and august Excellency, 
the words of your mouth drop wisdom 
and in your hand is justice. This 
merchant came upon us in contention, 
but it was no more as he told you, 



than the snows of the Himalayas are 
of ebony. 

THE WAZIR 

Now is the case regularly come be- 
fore me for judgment, since it is clear 
that one of these two speaks falsely, 
and it is more than likely that both 
have lied as darkly as Egyptians. 

(Turning to the Merchant). 
Speak you now 

THE MERCHANT 

(Interrupting) 

Excellent and August Highness, 
I have no wish to be a judge, nor to 
act further in this case. I will leave 
to you the punishment of the man 
and go upon my way, rejoicing in 
your wisdom. 

(He turns away). 

OVERSEER 

Mighty and worshipful one, I pray 
you that this Merchant be stopped, for 
he is carrying with him my treasure, 
my lump of gold that was to have 
bought freedom for all my people. 

THE WAZIR 
(To the Merchant). 
Stand now! I have not yet given 
judgment. Where is the lump of 
gold? 

THE MERCHANT 

The case, worshipful one, concerned 
the matter of a promise of freedom 
to a slave. There was no gold, un- 
less this fellow has some dust of it 
taken from the basins of his slaves. 

(The Slave Wiht the Green Shirt 
and the Overseer both protest vio- 
lently crying, "There was a great 
lump of gold. He has it." "The 
Merchant is a thief." The other 
slaves take up their cries ) . 

THE WAZIR 
Be still . . . 

(To the Merchant). 
Do you think it best to deliver the 
gold to me with dignity or to let me 
find it through the shredded rags that 
will no longer cover you, when my 
people have done beating you? 

THE MERCHANT 

The wisdom of your august High- 
ness is, indeed, beyond man's wisdom. 

(He produces the nugget and hands 

it to the Wazir). 

THE WAZIR 

That is better. The case is now 
simplier than it was, and we shall 
see justice done more quickly. 

THE MERCHANT 

I pray you, worshipful one, let me 
take my leave since I have no further 
dealings in this matter. 

THE WAZIR 

Indeed, have you not? Do you ex- 
pect me to believe that you give up 
this treasure so easily. It is not in 
the blood of men or of merchants to 
be so generous where gold is con- 
cerned. Whither go you? 



THE MERCHANT 

Again I applaud the wisdom of your 
august and worshipful Highness. 
Know then: I go from here to lay my 
case before the Emperor, knowing that 
however high be thy seat, he will 
do me justice, and that my treasure, 
which thou hast taken away from 
me, will be restored through his word. 

, THE WAZIR 
Go then. I will not stay you. 

OVERSEER 

August and worshipful one, humbly 
I pray you that my treasure, the fool- 
ish little lump of gold, be restored 
to me. 

THE WAZIR 

(Weighing thf gold in his hands). 
You do not value it justly. I cannot 
let it remain in your hands, lest some 
thief should take it from you, and 
a great and good gift of the earth 
be wasted. 

( The Overseer throws himself on 
the ground at the Wazir's feet, and 
as he does so the Emperor and his 
suite enter. The Emperor is car- 
ried in a great chair, and before 
him, also carried on the backs of 
men, goes the Emperor's principal 
god. As the Emperor is brought on, 
all prostrate themselves except the 
Wazir, <who bows very low before 
him. The Emperor makes a sign 
that his litter is to be set down, 
and calls the Wazir to him). 

THE EMPEROR 

This is a strange matter. What make 
you, Grand Wazir, here by the road- 
side? 

THE WAZIR 

Sire, the burden of your justice is 
ever upon me. Humbly here by the 
wayside, I have been hearing a case 
in accordance with your laws. 

THE EMPEROR 

What manner of case, Grand Wazir? 
It is not like you to delay my busi- 
ness at the expense of slaves and 
camel-drivers. 

THE WAZIR 

I delayed but a moment, Sire, and the 
case was not worthy of your celestial 
notice. 

THE EMPEROR 
Let me judge of that. 

THE WAZIR 

It was a matter of a promise made 
to a slave, and the impudence of a 
merchant setting himself up to do 
justice. 

THE MERCHANT 

( Throwing himself down before the 
Emperor). 

Mighty and celestial lord, I pray you 
in the name of the gods, do with me, 
with your own sublime hands, justice. 
The case is not as this great Wazir 
has reported it. 

THE OVERSEER 

(Throwing himself down on the 
other side). 




THE WAZIR 

Wears a robe of pale green with an over 

jacket of purple embroidered in gold. 

His sash and headgear are blark 

Mighty Sire, though I be but a slave, 
and dazzled by thy countenance as by 
the sun, I pray thee, do me also jus- 
tice. These two are thieves, both 
of them, the merchant and the Wazir. 
They have stolen my treasure of gold. 

THE EMPEROR 

Thy treasure of gold. Does a slave 
sue for the possession of a treasure 
of gold ? 

THE MERCHANT 

It was not his treasure, Celestial 
Sire, but one recovered from a thief 
who is fled. 

THE WAZIR 

You see, Sire, how different is your 
justice among men, who have not the 
truth in them. As your celestial wis- 
dom discerned, how could this slave 
possess a golden treasure? And this 
thieving merchant should he deal 
out punishment in the name of thy 
law? 

THE EMPEROR 

This is a strange case, truly, but I 
may yet come to fathom it; and first 
let me see this treasure. 

( The Merchant and the Overseer 
both rise pointing to the W azir and 
crying: "He has it. The Wazir. 
He took it from us." The Emperor 
fixes the Wazir with his gaze). 

THE EMPEROR 
Let me see this treasure. 

( The W azir, with a Jeep salaam 
places the lump of gold in the 
Emperor's hand). 

THE EMPEROR 

This clears the matter greatly. It is 
plain to me that so goodly a lump of 
gold could never belong to this man, 
who is but an overseer of slaves; 
and this merchant surely should not 
have it, lest thieves be tempted to 
slay him for it and so he lose his 
life; and in the hand of the Wazir of 
my Kingdom it would be a very 
(Continued on page 64) 



[44] 






Thratre Magcaint, J*ly, 



FASHION 



ctfs Created and Sponsored 



ctfcfrcss and t/ie Stage 




SHAWL AND FROCK PROM 
BERCDORF GOODMAN 



White Studios 



FASHION shows so many special interesting manifestations from season to season, which 
are like milestones along the road pointing to an increasing rationality! For what ran 
be more rational in clothes than costumes that avail themselves of real beauty and practi- 
cality, and that stand just enough apart from the current of the mode to have a somewhat 
more lasting value. Such a manifestation . . . we have received the tip from abroad . . . 
is the costume that is all the rage with European women at present for dinner, for the 
restaurant and theatre. It consists of the embroidered shawl with a simple sleeveless frock 
in georgette or crepe, the color of the frock matching the predominating tone of the shawl. 
A white frock goes with an all-white shawl, a black with a shawl in black, embroidered with 
white or with colored flowers, henna with henna, yellow with yellow, and so forth. 

Eileen Huban, that clever young actress with the come-hither Irish blue eyes, who is 
playing "Fanny Hawthorne" at the Vanderbilt Theatre, is one of the first to wear this costume 
over here, her frock being of jade green with a magnificent shawl most marvellously embroidered 
with flowers and tropical birds in brilliant tones of crimsons and yellows and purples. 

[45] 



VIOLET HEMING'S O. K. 



IS ON THESE NEW 



SPORT CLOTHES 



These sport frocks of knitted 
wool and silk mixture con- 
tinue unabated in their popu- 
larity. The material positively 
does not stretch and they come 
from the hands of the cleaners 
looking like new. Incidentally 
they are vastly becoming in 
their bright combinations, the 
one Miss Heming is wearing 
being of yellow striped in dark 
blue and white. 



COSTUMES FROM KNOX 




If you saw at first hand the 
delicious picture that Miss 
Heming presented in this one* 
piece frock and cape of black- 
and-white striped khaki-kool, 
you would want to go at once 
and purchase a similar frame 
for yourself. The hat tbat wai 
so cleverly chosen to go with 
it is of black taffeta with rows 
of stitching in white wool. 



Ira L. Hill Studio 



If "The Rubicon" ever finishes 
its run, Miss Heming is going 
to hop on a steamer for England, 
in which case a steamer coat 
similar to this warm and ca- 
pacious and extremely 
"swanky" one will go with her. 
The material is a sublimated 
heather mixture of warm 
brownish mauve tones with 
just a breath of pale green in 
the stripes and the lining is a 
gorgeous bright green satin. 



A summer-day frock of one of 
those del ightf ul new cotton 
fabrics that have a body making 
for good lines, and that yet are 
soft and light and cool at the 
same time. Its color is a deep 
rose pink checked and piped 
with white, a hat of the same 
material accompanying the 
frock. 



[46] 



Tktatre Magazine, July, iptt 



ORIGINALITY AND DISTINCTION 



ARE COMBINED IN THE 



PERSONAL FROCKS OF 



ZITA MOULTON 





A dark red and black "grand- 
mother's plaid" Irni'k of taffeta 
Mi - Moulton has had com- 
bined with bands of Kolinsky 
fur. Note the interesting 
modern sleeves that have a full 
blark chiffon puff opening 
down the inner side, and a 
loose cuff of the fur: also the 
Bash of wide black velvet rib- 
bon that falls in panels left 
and right. The shoes are the 
popular one-strapped pumps 
made of black brocade. 



White Stadias 






The palest of blue net is 
embroidered in brilliant 
pailletes of mauve tones and 
hung over a slip of silver 
cloth so that the whole frock 
shimmers like moonlight. 
We think nothing could be 
more charming for a back 
line than the panel that is 
attached to the underarm 
band and then swings free 
like a cape. Miss Moulton's 
slippers are of white and 
silver brocade with cross 
straps. 




SHOES FBOM 



C. H. WOLFELT CO. 



Particularly appealing is Miss Moulton's 
dinner or restaurant frock of black moire 
with its full double skirts, the upper rising 
in slanting line towards the side, and its 
chic note of the sash of vivid purple moire 
ribbon. 



[47] 






Here Are Some of the 





For its grace and speed a 
Studebaker Sedan is Clara 
Kimhall Young's choice in cars. 
This is the Studebaker Com- 
pany's Big Six 1922 model. 







Smart and luxurious 
finishings are shown 
in the body and in- 
terior of the Daniels' 
Special Town Broug- 
ham "138." 




The well-known high 
grade quality of the 
Daniels' car is of* 
fered in this their 
latest model of "Em* 
ergency Roads:ers." 



The National Sextet Roadster is an ultra smart sort of sport car. whose wide ami deep seat with 
its double non-sag springs invites to comfort and lounging ease. 



[48] 



Theatre Magazine, July, 



Season's Smartest Cars 





The Locomobile Coupe is an* 
other car of smartness. Its 
body is painted in "loco- 
mobile" black, satin finish, with 
two hairlines of French ivory, 
and upholstered in tan broad- 
cloth. 




Featured lately by 
the Jordan Company 
is their new three 
passenger Jordan 
Laundalet with its 
new exclusive six- 
cylinder Jordan 
motor. 




A Cole "Convention- 
al Coupe!" This type 
is designed so that 
the fourth seat folds 
up under the cowl, 
out of the way, w.hen 
not in use. 



Miss Lucille Chalfont, the young American coloratura, has just purchased for her own personal 
use, the latest model Sterling Runabout of the Standard Motor Car Company. 



[40] 




(Above) 

An old Flemish tapestry is 
the center of interest in 
the Foyer, which strikes 
the keynote of the entire 
house, in the dignity and 
balance of its furnishings 



Florence Walton finds time be- 



tween her dancing engagements 



to act as chatelaine of this 



charming house in New York 



Decorations by Chamberlian Dodds 





The recessed bookshelves on either 
side of the high stone Italian mantel 
are arched evidently to follow the 
lines of the windows and the door of 
this interesting room 



Her well ordered home reflects Florence 
Walton's mood, and her careful atten- 
tion to detail 



[50] 






Theatre Magazine, July, 




(Upper) 

The severity of the 
rough plaster walls and 
beamed ceiling in the 
living room, is relieved 
by colorful chintz at the 
windows, rich hang- 
ings of velvet and old 
Italian brocades 



The color scheme of the bedroom 
grey, old green and mauve, is carried 
out in the tinting of the walls in the 
furniture, and the bedcovering and win- 
dow hangings, which are fashioned of 
green stripped taffeta edged with blue 
and mauve. Instead of the conventional 
dog basket, Miss Walton's dog sleeps in 
the miniature four poster bed, hung with 
chintz, with tester and covers to match ! 



Perhaps the most interesting note in 
the dressing room is the old walnut 
secretaire beside the window, which was 
transformed into a charming vitrine for 
Miss Walton's collection of slippers 




[51] 



The Promenades of Angelina 

She Attends an Informal "Evening" at Madame Maeterlinck's and Tops it off by " Scooping" Fanny's Latest Inventions in Fans 

Drawings by Art Snyder 




you t'ink me an old fool." And I to con- 
sole his abjectness said the nicest thing I 
could muster, "No, I think you're quite an 
old duck." But his English wasn't up to 
that . . he thought I was poking fun at 
him, and went off horribly insulted. . . 
Not that that has much to do with my pres- 
ent story only it gets us to Washington 
Place, doesn't it? 

Into a narrow hall we went and up three 
flights of narrow stairs, turning on each 



This is the "Flirt- 
ing Fan" says Fanny. 
It is made of the 
thinnest slats of wood 
enameled and strung 
together with a cord 
and working on a 
pivot. The side fac- 
ing us is to be pre- 
sented to the mascu- 
line world when you are in flirtatious and amenable 
mood, and when otherwise the orange and black tassels 
at the sides are pulled and the reverse of the medal is 
shown. 

WHAT are you doing tomorrow 
evening, Angelina?" said Tubby's 
voice over the 'phone, and, when 
he had the response "Nothing so very par- 
ticular," went on with "How would you 
like to go on a party with me?" 

" 'At depends" I responded, "What sta- 
tions you got, Tubby?" 

"It's to be a surprise" answered Tubby 
teasingly. "Go it blind, pretty sweeting, 
and trust to me to make it a nice one." 

Well, Tubby's a man of taste and dis- 
cretion, so I said Oh- very-well-then. . . 

He came for me the next night in a taxi 
about ten o'clock and I restrained my 
curiosity until we had swung into the Ave- 
nue. Then, "Don't tantalize me any 
longer, Tubby," I implored. "Where, oh 
where are we bound for?" 

"Washington Place" said Tubby. "The 
apartment of Mme. Maeterlinck, 
Georgette Leblanc you know . . She's 
having a few special people in. . Now 
how about it?" 

"Oh Tubby" I cried, "What a 
lovely surprise! Where did you 
meet her? How did she come to 
ask you ? Is it all right bringing 
me . . You are an old duck !" 

Tubby sidestepped all my ques- 
tions. . . which of course were 
only in the nature of hyperbolical 
enthusiasm any way . . by re- 
minding me of my first proposal 
at eighteen. Whenever I use the 
expression "old duck" to him he 
likes to tease me about it. It . . 
the proposal . . was from a some- 
what snuffy and sentimental old 
boy . . a German . . who was 
taken with my youth. He rather 
went into rhapsodies and then 
feeling he had spilled over too 
much for his age and dignity tried 
to recant by saying, "I suppose 




This fan has no name and serves a rurely 
ornamental purpose. Thin strips of net compose 
it, which may be in combinations of gold and 
black, or white and black, or jade and grey, or 
in fact, any desired combination. The center 
tassel conceals the short wooden handle and 
hangs down over the hand when fanning. 



other, to the top floor ... It began to be 
French and atmospheric from the very 
start. And it did not disappoint once we 
were inside Mme. Maeterlinck's apart- 
ment. . A large room with a high gabled 
roof . . a brick fireplace with a low fender 
plumped with big black satin cushions. . 





And this fan was suggested by those mirror fans of 
the "ancien regime." It should be of patterned white 
lace with black lacquered sticks and a black grosgrain 
ribbon with a black wooden ball at the end to wind 
becomingly around the arm or to swing it by. At either 
end of the black sticks is a small mirror. 



Yon may think this should 
o \ be called the palette fan, but 

really it is the "Vanity Case 
Fan." It, too, is of thin var 

nished pieces of wood, and one gri) s it through the 
hole like the painter only turning it t'other end about. 
At the side is a small hinge which enables you to open 
the fan, and inside are compartments for a wafer-thin 
powder box and lipstick and perhaps a "nip" of 
perfume. 

/ 

a grand piano with a casement window 
above, the sash swung open and a potted 
primrose on its sill ... a big squshy 
couch . . long French windows at the 
back with three black-painted steps leading 
to a tiny roof garden. . Everything, in 
short, that rooms should have to suggest 
ease and romance and gay talk. Cliar- 
mante! Adorable! What a clever sense 
that had led Mme. Maeterlinck to choose 
just this one apartment and no other out 
of all possible apartments in New York for 
her background. . . 

Presently she appeared . . we were the 
first to arrive . . and channante and 
adorable were the adjectives to go with her 
too. Distinctly blonde, a soft gold blonde- 
ness, which gold-colored tulle, swathed 
round her head and fastened with interest- 
ing gold and pearl pins, and a gold-bro- 
caded robe brought out to its full effect 
. . . much smaller and slighter than 
one had imagined . . . and much 
younger looking also than gossip 
had given one to understand . . . 
but then America does fuss so if 
one is over nineteen . . . 

On our heels came Madame 
Yorska . . a further surprise . . . 
one didn't know she was in the 
country. . Well, she wasn't 
really . . just passing through 
Jrom Buenos Ayres to Paris. . 
She was as piquant and picturesque 
as ever in her white skin and vivid 
red lips, her dark heavily mokohul- 
ed eyes gleaming from under her 
dark hair, drawn down to her 
eyebrows and tulle-swathed in a 
similar manner to Mme. Maeter- 
linck's, but in black. Then fol- 
lowed "Teddy" (short for Theo- 
dora) Bean, the brilliant Sunday 
(Continued on page 54) 



[52] 



Tktalrt Uagatine, July, 



Isn't this feeling about tires 
pretty universal 



OST car-owners in- 
tend to have a car the 
rest of their lives. 
Economical opera- 
tion is getting more and more 
fashionable. 

How many men do you know 
who won't expect tires to do 
their share of the saving 1 

This is the year for tire mer- 
chants to study their customers 

closely. 

* * * 

The makers of U. S. Royal 
Cords have recently stated what 
is the biggest opportunity to 
serve in the tire business. 

U. S. Royal Cords cannot take 
care of all the people who want the 
upward quality in tires. 

Nor do they claim a monopoly of 
all good tire making methods. 



It is the things they refuse to leave 
undone that make U. S. Royal 
Cords the measure of all automo- 
bile tires. 

Not only what is put in but what 
is never left out that reveals the 
Royal Cord practical ideal. 
* * # 

So Royal Cord makers 
feel free to say again what 
they have said before 

Let us compete for 
higher and higher 
quality. 

For more and 
more public 
confidence. 



The makers of United States Tires urge upon 
every body manufacturer and dealer alike a 
new fcind*o/ competition. 

Let u* compete for more and more public 
confidence. 

Let us compete for higher and higher 
qnaiity. 

Let u* compete for still more dc- 
pendab-le public service. 



United States Tires 
are Good Tires 






Copyright 

1922 
U. S. Tire Co 



=^^%<Sss^ 



ssa 



A < 



U.S. Royal Card Tires 

United States ft Rubber Company 



Fifty-three 
factories 



The Oldest and largest 
Rubber Organization in the World 



Two hundred and 
thirty-ftv? Branches 



^ 



ma 

i' ft 



**>ei 



rss] 



Eastern Point NEW LONDON, CONN 



NOW OPEN. Per- 
sonal hospitality and social 
charm assure happy days at 
this most refreshing of sea- 
shore resorts. Most im- 
portant yacht harbor on the 
Sound. A radiating center 
of beautiful motor roads. 
Special a la carte grill for 
motorists. 18-holes of golf 
at famous Shenecossett 
Country Club music and 
<?ancing. Tennis, horse- 
back riding, sea bathing. 
Brokers' office. 



American or European 
plan Biltmore cuisine. 
Reservations or informa- 
tion at the Biltmore, Ne*> 
York. 



John McE. Bowman, Pres. 
Earie E. Carley C. A. Judkins 
Mgr. 




PROMENADES OF ANGELINA 



(Continued from page 52) 



editor of the Morning Telegraph . . 
and the beautiful Marjorie Patterson 
of "Pierrot the Prodigal" fame, with 
her gorgeous blonde bob . . quite the 
loveliest I've ever seen, and like the 
fluffy waves and fresh tones of a 
child's head of hair . . if only all bobs 
could look like that . . and I know 
she has to do nothing to it to keep it in 
order, but run a comb through it. She 
was, by the way, one of the very first 
to clip her hair . . years ago . . even 
before Mrs. Castle . . only she was 
living on the other side at the time 
and so never has had the "glory" 
for it. Mademoiselle Darcy, who 
came in with her husband, Mon- 
sieur Chotin (they were both with 
Copeau at the Theatre du Vieux 
Colombier) had another enchanting 
bob . . what I should call a "Kate 
Greenaway" bob, with little short 
ringlets all over her head and a wide 
black satin ribbon bound round it ... 

After Monsieur Ferrari, whom you 
perhaps know as the accompanist who 
contributes to the success of Guilbert's 
recitals, had arrived, Mme. Mater- 
linck sang for us, and recited some of 
her own poems . . perfectly stunning 
things . . and beautifully declaimed. 

Then a few more people came in 
and we smoked and had something to 
drink . . Tubby and I sat either 
side of Miss Patterson on the sofa and 
I made her show me her gold and jet 
cigarette holder and all her other 
fascinating trinkets . . Yorska 
brought out some perfume she had pur- 
chased . . "Sakountala" . . strange, 



exotic, very heavy . . which the 
French would call "trouklant," I sup- 
pose. . She said it was the divine 
Sarah's favorite scent . . which she 
always uses. . I made her sprinkle 
some on the fur collar of my cape and 
it lasted for days after . . 

With that Tubby and I departed, 
voting it one of the pleasantest even- 
ings we'd ever had ... so gay and 
friendly . . so entertaining and stimu- 
lating . . such delightful French 
spoken. It hadn't been a late party 
and so when Tubby and I came out 
into the Village again I suggested why 
didn't we walk around and ring 
Fanny's bell and see if she were in 
and up or something . . Tubby was 
agreeable and being in luck we found 
Fanny in and up. . She had been 
designing some fans for a magazine 
earlier in the week, she said, and then 
when she was through with her stint 
f,>r that, she found she had so "got the 
habit" that she couldn't stop. . It 
had become an obsession, an idee 
fixe with her. . . She had to go on 
and on designing and executing fans 
in her spare moments . . . and here 
were four brain children she'd drawn 
that she specially liked . . and now 
she'd got them what was she g;>ing to 
do with them. . . So I said I'd show 
here what she was going to do witli 
them. . She was going to let me use 
them for my fad of the month in the 
July "Promenades" . . and I scooped 
them up and there they are on the 
other page. Aren't they altogether 
delightful and amusing? 




Here we are with one of the latest models of the Annette Kellermann 
two-m-one bathing-suits, without which no bathing season is complete! 
Miss Virginia Lee, a recent acquisition to the beauties of the films, is 
wearing the model, which is in pure white wool, the black belt being of 
waterproof material with a composition buckle unharmable by .water. A 
serpentine bracelet of the same composition also forms part of the picture. 
The same model may be had in black, or jade, or russett, and so on. 
For those who prefer a fuller skirt to the tunic the two-in-one model* 
come made in this fashion also, reversible | leats at either side of the 
back giving the necessary spring that makes for an aesthetic line. 



[54] 



Theatre Mayasinc, July, 



BRUNSWICK. 

Exclusive Artists 

JVumber<Sevenofa Sertes 




ELLY NEY 

PIANISTE 

FRESH from a series of European triumphs, and hailed by critics as "the woman Paderewski," 
Elly Ney established her right to the title by setting an American record for performances this last 
season playing fifteen times in New York City alone, and as many proportionately in other musical 
centers! Her superb art and mastery have made her the predominating figure m the pianistic world 
of today, and like other noted artists of the New Hall of Fame she records exclusively for Brunswick. 
New Elly Ney Records Now At All Brunswick Dealers 
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By ANNE ARCHBALD 




WASN'T it General Grant who said he knew two tunes, one of them was 
"Home, Sweet Home" . . and the other one wasn't? Not that it's 
exactly the same thing, but on the stage they have two kinds of make-up, 
one of them is called a "dry make-up," and the other one isn't. At least that's 
as definitely as we've ever heard it designated. The antithesis of a "dry" 
make-up certainly is not called a "wet" one. The dry make-up consists in 
putting one's rouge and powder directly on the face, without first applying a 
foundation. With the other make-up there goes first as a foundation a grease 
paint called a "fleshing," which gives a lovely smooth effect to the skin that 
makes it possible to blend one's other colors over it. We tried this fleshing on 
one occasion, when we were amusing ourself in a friendly stage dressing-room 
and were frightfully intrigued with the results obtained. A lovely soft bloom 
uniformed our face, and we regretted intensely when we had to wipe off this 
fresh young complexion and go out into a chill world. We did wish there were 
something like the grease paint to take its place in real life. We have heard 
various actresses say the same thing too. 

And now along comes lovely Mae Murray and says there is a something. 
It's just on the market, and she's using it and thinks it's perfectly splendid. She 
offered us the information out of the goodness of her heart, when we were 
having tea with her in her charming apartment at the Hotel des Artistes. 

"Wait a minute, I'll show you" said Miss Murray in that enchanting voice 
of hers that is light and cool like a snowflake, and picked up the bag she had 
thrown down as she came in from the street and took out a small object. It 
was a neat little flattish leather case, about two inches long, stamped -,vith the 
words "Le Charme" in gilt. Inside was a cake of. . . But let Miss Murray 
describe it . . 

"You see it's a compound of cold cream and face powder forced together 
by hydraulic pressure, I believe. It gives the nicest, smoothest look to one's 
complexion . . and it has a particular advantage for me in that I can use it 
both in my pictures and out of them." (When you are making such a picture, 
par example, as you do now, we thought!) "A further advantage is that it is 
meant to be used not only on the face, but on the neck and the arms and hands 
. . taking the place, in a way, of liquid powder, and far more convenient, as 
you see, in this cake-like form and its case that you can carry round with you. 
Besides the cold cream and powder in 'Le Charme', there is a little bismuth and 
a bit of zinc ointment which is always good for the skin, is it not, and there is 
no clogging of the pores. They breathe through it. Tell anybody for me, who 
swims or goes in for sports, that it is wonderful for sunburn a double coat of 
it absolutely prevents your face and neck and arms from getting burned." .... 

There is something new in handerchiefs for you, too! We suppose there is 
no woman who doesn't appreciate and wouldn't prefer a soft fabric in a 
handkerchief if she could get it. The trouble so far has been that the softest 
fabrics have come in either a very high-grade and expensive linen, or a low- 
grade and cheap cotton that looked all right before washing, but impossible 
after. Now there is a handkerchief of a new kind of fabric that is as soft and 
fine as possible, very moderate in price, and that arrives from the laundry in 
exactly its original condition. The handkerchiefs come with charming borders 
of blues and pinks and mauves and yellows and are made for men as well as 



(For the name of the company making the new beauty preparation, called! 
"Le Charme," used by Mae Murray, and inhere to purchase it; also for the name 
of the new soft fabric handkerchiefs, write The Vanity Box, Care The Theatrf 
Magazine, 6 East 39<A Street, New York City.) 



[56] 



Theatre Magasine, July, 



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SHALL WE HAVE A THEATRE CENSOR? 
Yes 

BY CANON CHASE BY CHANNINC POLLOCK 

(.Continued from pages 10 and 11) 



strained in any vital matter but all are 
equally and effectively prevented from 
producing moral filth. Between 1895 
and 1909 only 30 plays, out of 7,000, 
were vetoed. It has been a great ad- 
vantage to have a skilled, experienced 
and friendly critic, rather than a mis- 
cellaneous jury of twelve or a bench 
of judges, who in the nature of the 
case, cannot be dramatic critics. 

Mr. George Edwardes, the well- 
known English theatrical manager, 
told the Parliamentary Committee in 
1909 that the practical abolishment of 
censorship in France had killed the 
big audiences. He claimed that Eng- 
land has the cleanest stage in the 
world, and that it is due to the fact 
that every play before it is produced 
in any licensed place of amusement 
must have the approval of the censor. 
Censorship works indirectly by pre- 
venting the making of bad plays. In 
sixty years only ninety-seven plays 
were rejected in England by the censor 
of stage plays. Many more bad plays 
would have appeared if there had 
been no censor. The prevention of 
indecent plays secured by censorship 
is better than the cure of them by 
punishing the man who produces 
them. 

English censorship of plays does not 
prohibit the printing of unlicensed 
plays or forbid their being acted ex- 
cept where an admission fee is 
charged. Has Censorship crippled 
the genius of Galsworthy, Pinero, 
Barrie, A. A. Milne, W. Somerset 
Maugham? Pinero, in 1909, said that 
he had no complaint to make concern- 
ing the treatment of his plays by the 
censor at that time or by his predeces- 
sor. He said all plays which were to 
be exhibited for pay should be sent to 
the censor, but he favored allowing 
all plays which were condemned by 
the censor to be presented at the risk 
of prosecution. 

The English censor has made mis- 
takes. No institution is, or can be, 
infallible. It is claimed that out of 
the 30 plays vetoed, 13 of them should 
have been approved. But if there 
were only 13 mistakes made in pass- 
ing upon 7,000 plays, the errors were 
almost negligible when it is remem- 
bered that it was not forbidden to 
print or even to exhibit them without 
an admission fee. 

Citing the mistakes of censors is 
no argument against censorship any 
more than citing the absurd decisions 
of judges would convince anyone that 
courts of law should be abolished. 
The rule that no kiss in a motion 
picture film shall be longer than five 
feet is not so absurd as that a thief 
charged with stealing a gold watch 
was acquitted by the judge because the 
watch was found to be not a gold 
watch but a gold filled watch. 



Shadow," never reached the screen, be- 
cause it mentions an illegitimate child, 
and illegitimate children are barred in 
Ohio and Pennsylvania. The farce, 
"Bootle's Baby," was stopped in 
Philadelphia because a man got a 
letter from his wife and burned it. 
Tearing the letter would have been 
permissible, but burning showed con- 
tempt of the marital relation. Charles 
Kenyon's remarkable play, "Kindling," 
dealing with no sex problem, but 
with poverty and the race, was held 
up on account of a mother shown 
making clothes for her unborn child. 
This child was not illegitimate; it 
was about to be born with the greatest 
possible deference to the censors. 
What, then, was wrong with the ex- 
position of a mother engaged in one 
of the most sacred and beautiful 
labors of motherhood ? You'll never I 
guess ! "The 'movies' are patronized ' 
by thousands of children who believe f 
that babies are brought by the stork, 
and it would be criminal to undeceive 
them!" 
Honest! 

Censorship might be understand- 
able, however, if it interfered only in I 
matters of sex. Once established, the I 
institution becomes a dependable I 
means of curbing criticism of the I 
powers that be and comment on j 
government. At the recent dinner to I 
Will Hays, Anita Loos told me of a I 
playful sub-title, "It doesn't take much j 
brain to be a Mayor," that was im- I 
mediately ordered "out" by Mr. Hylan. I 
At the time of the steel strike, the 
Pennsylvania board interdicted news I 
weeklies showing state police riding 
down strikers. Last winter a photo- I 
play by Leroy Scott was forbidden in | 
New York partly because one of its I 
characters was a patrolman who ac- 
cepted a bribe. This held the police 
force up to "contumely and contempt." 
Once admit censorship and the 
cherished constitutional rights of free 
speech and a free press go for less 
than nothing. The important liberty- 
guarding practice of caricature, ridi- 
cule, and the plebiscite becomes sub- | 
ject to the fears and vanities of the 
persons caricatured, ridiculed, or 
criticised. 

The last word on censorship is 
this: 

That there is scarcely a fine thing 
in literature or the drama, in the art 
accumulation of the ages, that could j 
have been produced in the face of] 
the kind of censorship we have ex- 
perienced in America. The rules 
made by state boards would have 
obliterated Shakespeare, buried Balzac, 
smashed Shelley, mutilated Moliere 
destroyed Dante, and rendered impos- 
sible the publication of the Holy Bible. 
In the last season alone, under con 
ditions of commercial management on 



(Continued on page 60) 



[58] 



Tkratre Uagatint, July, 1911 




Book 



Especially those containing plays for reading or 
acting, or those concerned with play production 



TONY SARG MARIONETTE 
, Text by F. J. Mclsaac. 
with two plays for home-made 
Marionettes by Anne Stoddard. (B.W. 
Huebsch, Inc.) 

This is another interchangeable 
book, that is, a book for children or 
for grown-ups, or for grown-ups or 
for children. Since it was primarily 
intended for the latter, however, the 
language is the most direct and sim- 
ple, and the information, imparted 
to the author by Mr. Sarg himself, 
offered in the most readable manner 
possible. (If this were the usual 
result of writing for children would 
that more styles might be founded in 
that manner!) 

Mr. Mclsaac's aim in this book, 
as he says in his introduction, is "to 
acquaint you with the lovable and 
unique personality of Tony Sarg"; to 
tell you a little about the "long and 
varied history" of puppet shows, and 
how Mr. Sarg came to be interested 
in them and in developing them into 
his present "artistic marionettes." He 
also explains some of the mysteries in 
the performance of these marionettes 
that have puzzled audiences, to which 
Mr. Sarg adds diagram-illustrations. 
And lastly Mr. Mclsaac tells, through 
Mr. Sarg's own instructions, how chil- 
dren can make these little figures 
themselves, and put on shows of their 
own at home. We can fancy what 
fun a child whose wise parents had 
not hampered his imagination, might 
have with this book ! 

The two plays by Anne Stoddard 
that wind up the whole engaging 
affair, versions of the immemorial 
"Snow-White and the Dwarfs" and 
"Little Red Riding-Hood," are writ- 
ten in the true spirit of childhood, a 
fact over which we exclaim thankful- 
ly, it being our tribulation to peruse 
so many so-called plays for children 
that are miles away from the real 
atmosphere. 

PRODUCING IN LITTLE THEA- 
TRES, by Clarence E. Stratton. 
(Henry Holt & Co.) 

Though this book by Mr. Stratton 
has been on the market for about six 
months, we are afraid it may have 
escaped the notice of some of our 
readers either already interested in 
or about to embark on the venture of 
Little Theatre Producing, and are 
therefore calling it to their attention. 



The book will be interesting also 
to another class of readers, to those 
who attend the theatre for their 
own recreation and enjoyment. For 
after they have read what Mr. Strat- 
ton has to say, especially in his chap- 
ter on "Lighting" and "Experiment- 
ing," on "Creating the Stage Picture" 
and "Costumes and Make-up," they 
will find their own playgoing become 
an even more exhilarating thing than 
it is now. They will have a surer basis 
of criticism, a better understanding of 
what is involved in the production of 
every play, whether amateur or pro- 
fessional in short they will have 
had opened for them additional ave- 
nues of stimulus and pleasure. 

And as to the class mentioned first, 
those starting the exciting adventure 
of a Little Theatre, they should find 
Mr. Stratton's information and advice 
invaluable. Mr. Stratton is among 
the most important figures in this 
wonderful Little Theatre movement, 
one of the best things it can't be 
repeated too often that has ever 
happened to America. He is himself 
an author of two plays. He has gone 
over all the ground before you. And 
he offers from his own experience the 
most practical and progressive and 
live-minded suggestions. We should 
think the chapters on "Choosing the 
Play" and "Rehearsing . ." and 
"Some Specimen Programs" would be 
particularly illuminating for the iittle- 
theatre-er as well as those chapters 
already noted. And at the end of the 
volume is an invaluable list of "Two 
Hundred Plays Suitable for Amateurs," 
with brief notation as to number of 
acts, sets, size of cast, type of play, 
and where purchasable. 

For your encouragement we quote 
a bit of what Mr. Stratton sug- 
gests on the advantages that a 
group of amateurs has over the pro- 
fessional manager in experimentation. 
"The fundamental principle of all 
dramatic production is experimenta- 
tion. Every new play is bound to be 
an experiment, a risk." The regular 
commercial producer, therefore, not 
in business for his health says, "let us 
get into its production . . elements 
which are not experimental or risky." 
"Amateurs have the immeasurable 
superiority because they can experi- 
ment more frequently, in more differ- 
ent ways and with more daring and 
successful originality." 




Interior of Balaban & Kan Chicago Theatre with 
chair installed by American Seating Company. 



Examine Your Seating 



very important element to your suc- 
cess is the matter of providing real seating 
comfort to your thousands of patrons. 

There can be no question but that between 
two theatres within competing distance, with 
attractions in the long run practically the 
same, the favor of the public will eventually 
turn to the theatre with the more comfortable 
seating and more pleasant interior. 

It is very important, therefore, that you 
examine carefully the chairs in your theatre 
to judge if they do meet the essential require- 
ments of comfort, strength and beauty. 

Consider well also if their arrangement and 
placement is such as to give the audience the 
best possible view of stage and screen, and 
if the aisles are rightly located for quick and 
smooth handling of the crowds in and out. 

On all theatre seating and reseating plans, 
our Theatre Engineering Department is at 
your free service at any time. 




NEW YORK 
117 W. 40th Street 

BOSTON 
69 Canal Street 



Qeneral Offices: 

CHICAGO PHILADELPHIA 

1 8 E. Jackson Blvd. 707-250 S. Broad St. 

DETROIT 
1422 Washington Blvd. 



[59] 




IRENE <BORDONI 

Pays Tribute to 
American Beauty 

Irene Bordoni, one of the 
most gifted and beautiful 
actresses on our stage, has for 
years protected and perfected 
her wonderfully beautiful 
complexion and contour 
through the discovery of an 
American Beauty Specialist, 
Mrs. M. G. Scott, creator of 

Mineralava Beauty Clay 
"Nature's Way to Beauty" 

which removes wrinkles, 
tightens sagging muscles, ban- 
ishes complexion blemishes, 
and builds firm contour ot 
face and neck through quick- 
need blood circulation. 

Miss Bordoni writes that 
"tJltCineralava is n fart of my 
every d.iy toilet." 

Warning: Mineralava is imitated. 
The oti^wU is your only protec- 
tion. Purchase through dependable 
Department and Drug Stores. Ask 
1 for the original: 

sMineralava 'Beauty lay, $2.OO 

(18 treatments in one bottle) 

tMineralava Face Finish, jji/.JO 

Send for specialist's booklet: 

"J^ature's Way to 'Beauty" 

by Dr. George C. Watson 

SCOTT'S PREPARATIONS, Inc. 
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p 

At Dep't and 
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banishescotnplex- 
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23d Successful Year 





Beauty Qlay & 9ace finish 



PARIS VIVAUDOU NEWYORK 
Distributor 




SHALL WE HAVE A THEATRE CENSOR? 

Yes No 



BY CANON CHASE 



BY CHANNING POLLOCK 



I have no confidence that the plan 
of an unofficial jury to eliminate in- 
decent plays will accomplish any- 
thing in cleaning up the stage, though 
I am assured that its sponsors are very 
sincere and upright people. The plan 
will set up no inviolable standard. 
The volunteer judges will not be re- 
sponsible to the State. 

The vicious playwrights and pro- 
ducers will fear the law less than now, 
and will be more daring than ever. 
The plan will not prevent but will 
protect and multiply bad plays. I am, 
however, willing to wait to give the 
plan a chance to prove its efficiency. 
I regard the Federal control of the 
Motion Pictures in Interstate Com- 
merce as a much more urgent reform, 
because of the larger attendance of 
children at Motion Picture Shows 
than at theatres, and because a pic- 
ture once corrected is more likely 
to remain so, than in any spoken 
drama. 

I write as a lover of plays and as 
a pastor of souls, not as a reformer. 
I am not opposed to having plays deal 
with the sex impulse and with the 
advanced problems of society. There 
must, however, be some limit. When 
plays are merely for propaganda and 
venture beyond the conventions and 
moral laws of the public, they are not 
suitable for the amusement of a mixed 
audience. 

Unscrupulous business should never 
be allowed to show them for profit. 
Sir Wm. S. Gilbert, the famous 
libretist, when asked by the Parlia- 
mentary Committee to state why he 
thought a censorship of some kind 
desirable, replied: 

"Because I think that the stage of 
a theatre is not the proper unit from 
which to disseminate doctrines, pos- 
sibly of anarchism, socialism and of 
agnosticism; and it is not the proper 
platform from which to discuss ques- 
tions of adultery and free love before 
a mixed audience of persons of all 
ages and both sexes, of all ways of 
thinking, of all conditions of life and 
various degrees of education." 



(Concluded from page 58) 

much-maligned Broadway, they would 
have prevented "Anna Christie," 
"The Nest," "Daddy's Gone a-Hunt- 
in'," "Ambush," "The Circle," "The 
Hairy Ape," "A Bill of Divorcement," 
"The Hero," "He Who Gets Slapped," 
"The National Anthem," "The Dover 
Road," and every other deeply con- 
ceived and seriously-intended dra- 
matic effort, leaving us to snigger over 
the inanities of musical comedy and 
to contemplate a stage more than ever 
reduced to the level of the nursery. 
The Germans could not have left a 
conquered Paris so bare of Art as a 
triumphant censorship would leave 
New York. 

In comparison with a catastrophe 
like this, what is the production of 
an occasional "Demi- Virgin?" and yet, 
since it becomes apparent that there 
are theatrical managers sufficiently! 
degraded to do anything for money, 
a combination of decent managers 
the vast majority of authors, and 
actors, and sane reformers have joined 
to render even these sporadic out- 
breaks impossible. Their plan fully 
perfected and about to go into effect 
is to bulwark present police powers 
and to give municipal authority the 
benefit of intelligent advice, not 
through the arbitrary action of three 
politicians' pets, representing the 
brand of brain and experience 
purchaseable at fifteen hundred 
dollars a year, but through a jury of 
responsible and representative citizens. 
This jury, chosen from a panel com- 
posed of five hundred men and women 
of standing and proved integrity, is 
to have the final word, since, without 
expense to the community, or process 
of law, authors, actors, and managers 
pledge themselves to withdraw im- 
mediately any play judged to be pre- 
judicial to public morals or inimical 
to the public welfare. An art whose 
practitioners are willing to abide by 
such a judgment of good citizenship, 
to penalize their adventurers and 
suffer the damage, is not in serious 
need of interference from Assembly- 
man Schmalz and Senator Callahan! 



NEW VICTOR RECORDS 



June introduces a new artist to Vic- 
tor audiences, Mme. Marie Jeritza, the 
famous new dramatic soprano of the 
Metropolitan Opera Company. 

Two splendid records comprise her 
first offering to Victor music lovers, 
the first, Elsa's Traum from "Lohen- 
grin," a fitting medium through which 
to introduce her powers. 

Mme. Jeritza's second record is the 
"Lautenlied der Marietta" (Song of 
the Lute) from Erich Korngold's 
weird opera "Die Tote Stadt," a soft 
and wonderful melody, haunting and 
subtle, yet clear and of a soft, weav- 
ing rhythm. 



You never know just what surprise 
lies in a new Galli-Curci record, and 
there's always a thrill in the experi- 
ence. In June she sings an English 
coloratura song "Echo Song" by Sir 
Henry Bishop, a song which mingles 
Gibraltar-like steadfastness with a 
meteoric brilliancy of ornament. The 
glorious voice begins with a soft lyric 
melody, rising higher and higher until 
it rests on the "High D," the topmost 
note of which even such vocalization 
as Galli-Curci's may hope to achieve. 
Yet, outdoing even itself, a climax 
follows, culminating with another 
triumphant high note. 



Dull Hair 



The difference between beautiful hair 
and ordinary hair is very slight usu- 
ally something about its shade, a little snme- 
thing which makes it attractive if present or 
just ordinary if lacking. Whether your hair 
is light, medium or dark, it is only necessary 
to supply this elusive little something to make 
it beautiful. This can be done. If your hair is 
dull or lacks lustre if it is not quite as rich 
in tone as you would like to have it you can 
easily give it that little something it lacks. 
No ordinary shampoo will do this, for ordinary 
shampoos do nothing but clean the hair. 

Golden Gl in t 
Shampoo 

is NOT an ordinary shampoo. It does 
more than merely clean. It adds beauty 
a 'tiny tint" that little something which 
distinguishes really pretty hair from that 
which is dull and ordinary. Would you 
really like to have beautiful hair? Just 
buy a package of Golden Glint Shampoo. 
At your dealer's or send 25c direct 
J. W. KOBI Co., 141 Spring St., Seattle. 



In Three Lovely Jars 

Leona Libbe 's Complete 
Beauty Course 

A formula for loveliness and youth 
which you can now use in your own 
home is this set of three preparations 
employed by Leona Libbe herself. 
Creme Leona, cleanses and nourishes; 
excellent protection against sun ana 
wind. 

Banme Radiant, a pinefragrant cream 
which stimulates circulation and gal- 
vanizes every tiny skin cell mu 
vigorous life. 

Face Tonique, cooling astringent; 
closes po.es, firms muscles. 

Complete set (12 treatment*) 
by mail. $4. 

Separate prices and booklet on request, 
Write Dept. T. 



Leona. Libbe Beauhj Bt.. 

166 Wt 58^ Street, New York 



ff[, 




FRECKLES 

Don't Hide Them Wilh a Veil; 

Remove Them With Othine 

Double Strength 

There's no longer the 
slightest need of feeling 
ashamed of your freck- 
n^ les, as O t h i ri e double 
strength is guaranteed to 
remove those homely spots. 
Simply get an ounce of Othine 
-double strength from any drug- 
gist and apply a little of it night 
and morning and you should soon see 
that even the worst freckles have begun 
to disappear, while the lighter ones have 
vanished entirely. It is seldom that more 
than an ounce is needed to completely 
clear the skin and gain a beautiul clear 
complexion. 

Be sure to ask for the double strength 
Othine. as this is sold under guarantee of 
money back if it fails to remove freckles. 




FACE POWDER 



The cliarm of Lablache becomes more 
apparent by constant use. ^ For fifty 
years a favorite making new friends- 
clinging to all. So natural, it becomes, 
delights, and protects the complexion. 
Fashion's favorite because pure, safe, 
economical, elusive' 
ly fragrant. 

Ketnse Substitutes 

They may be danger 
ous. Fl<-,h. While. 
Pil.k or Cream. SOc. 
a box at druggists 
hy mail. Over two 
minimi boxes sulj 
annually. 

Send locjorsamplt lit. 
HEN. LEVY CO 
FrettchPerfumet sDctt 




[60] 



Theatre Magatine, July, /9 



Dp 

//us 




3 evtjy / 

mornitip! 




It is the habit of well kept 
thousands. Follow the use 
of your tooth brush with a 
few drops of Absorbine, J r. 
in an eighth glass of water. 

This, as a mouth wash, 
spray and gargle, removes 
disagreeable tastes and 
breaths; destroys crevice 
hidden germs that cause 
decay, and alleviates con- 
ditions of sore throat. It 
leaves the mouth refresh- 
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CAPSULE CRITICISM 



(Concluded 

Fairly familiar, too, are two as- 
cribed by tradition to Eugene Field, 
in the days when he was dramatic 
critic of the Denver Post. Of 
one performance of "Hamlet," Field's 
entire review consisted of two 
short melanchojy sentences. He 
wrote: "So-and-So played Hamlet 
last night at the Tabor Grand. He 
played it till one o'clock." And it 
was Field who haunted the declining 
years of Creston Clarke with his re- 
view of that actor's Lear. Clarke, 
a journeying nephew of Edwin Booth, 
passed through Denver and gave 
there a singularly unimpressive and 
unregal performance in that tower- 
ing tragedy. Field couldn't bear it 
and finally vented his emotions in one 
sentence. Said he: "Mr. Clarke 
played the King all the evening as 
though under constant fear that some- 
one else was about to play the Ace." 
Of course, some beautiful capsule 
criticisms are doomed to a lesser fame 
because it is so difficult to detach them 
from their circumstances and their 
context. This is true, for instance, 
of several deft summaries by Hey- 
wood Broun. When some years ago 
one Butler Davenport put on a 
juvenilely obscene little play at his 
own little theatre in New York, Broun 
scowled and wrote: "Some one should 
spank young Mr. Davenport and take 
away his piece of chalk." Then there 
was the hilarious episode which grew 
out of the production for one after- 
noon in the Spring of 1917, of Wede- 
kind's "Fruhlingserwachen," which 
Broun translated as "The Spring Of- 
fensive." In his little piece on the 
subject, he mentioned casually that, 
to his mind, an actor named Stein 
gave, in the leading role, the worst 
performance he had ever seen on any 
stage. Stein sued for damages, but the 
court decided, after some diverting 
testimony, that after all, a critic was 
free to express his aesthetic judgment, 
however painful it might prove to the 
subject. Later it became Mr. Broun's 
embarrassing duty to review another 
performance by the same agrieved 
Stein in another play. Broun evaded 



from page 8) 

the duty until the last sentence, where 
he could have been found murmuring: 
"Mr. Stein was not up to his stand- 
ard." 

I am inclined to think, however, 
that the best of the tabloid reviews 
have been oral. Coleridge's famous 
comment on Kean's Hamlet that see- 
ing it was like reading Shakespeare 
by flashes of lightning was said by 
him, but written by somebody else, 
wasn't it? Certainly the two best of 
my day were oral criticisms. One 
was whispered in my ear by a comely 
young actress named Tallulah Bank- 
head, who was sitting incredulous be- 
fore a deliberate and intentional re- 
vival of Maeterlinck's "Aglavaine 
and Selysette," a monstrous piece of 
perfumed posturing, meaning exactly 
nothing. Two gifted young actresses 
and quite a bit of scenery were in- 
volved and much pretentious rumbling 
of voice and wafting of gesture had 
gone into the enterprise. Miss Bank- 
head, fearful, apparently, lest she be 
struck dead for impiety, became des- 
perate enough to whisper: "There 
is less in this than meets the eye." 
The other was tossed off by that 
delightful companion and variegated 
actor, Beerbohm Tree. Hurrying 
from California to New York, he 
joined at the eleventh hour the al- 
ready elaborated rehearsals of "Henry 
VIII," into which he was to step in 
the familiar scarlet of Wolsey. He 
was expected to survey whatever had 
been accomplished by his delegates 
and pass judgment. 

He approved cheerfully enough of 
everything until he came to the col- 
lection of damsels that had been 
dragged into the theatre as ladies- 
in-waiting to the Queen. He looked 
at them in pained and prolonged dis- 
satisfaction and then said what we 
have all wanted to say of the extra- 
women in nearly every throne-room 
and ball-room and school-room scene 
since the theatre began. "Ladies," 
said Tree, peering at them plain- 
tively through his monocle, "just a 
little more virginity, if you don't 
mind." 



THE PLAYGOERS 

(Concluded from page 8) 

SHE: "Didn't we pay for our seats? Aren't we just as good as anybody else? 
Isn't this a free country? Take it to the manager." 

(He goes out, shamefacedly, looking neither to the right nor the left. She 
turns and a wave of red sweeps over her face as she sees a slip of paper in her 
husband's seat. She snatches it up. It is the note he vias to take to the manager. 
Her husband returns just as the curtain rises.) 
SHE: "Did you see the manager?" 
HE: "Yes." 

SHE: "Fibber! You never went near the manager. Now I will see him. 
Come along." 

HE: "All right. But put this in your spring hat and wear it. The next time 
I go to the theatre, I go stag." 



NEW BRUNSWICK RECORDS 

Have you ever danced on the porch of your summer residence on a beautiful moon- 
light night? It is entrancing, and to add to your enjoyment here is a list of new Brunswick 
fox trots which I highly recommend. "Teasin" and "Do It Again," played by Bennie 



me u^s ui in iii ic i cmpcsi, wno inaae inis song lam 
Tiffany with the "Bird Voices," by Margaret McKee. 




[62] 



Theatre Magazine, July, 



WoM4thSirert. Era. .t8.20 
Mate. Thim. & S.I. at 2.20 

"The most finished piece of acting of the 
season." Heywood Broun, World 

David Belasco presents 

LENORE ULRIC as KIKI 



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a trip to New York, write or 
telephone for suggestions and 
advice concerning plays and 
concerts, and where the best 
seats may be secured unusu- 
al places to dine and dance 
the smart beauty shops where 
you may be transformed and 
refreshed after your journey 
the shops where the choicest 
blooms and sweets may be 
found. All these and many 
more useful bits of informa- 
tion will be added unto you 

if you consult 

The'Tlay Guide" 




Theatre Magazine's 
"Play Guide" 

This is the "Play Guide" of Theatre 
Magazine, a guide for young and old, 
to America's greatest playground. New 
York City. 

Mark the "Play Guide's" signposts 
well! It will help you avoid false 
starts, anti-climaxes, and the malaise 
of wrong places. 

It can make of you that most popular 
human, male or female, "the person 
who knows the right thing." 

The epicurean "Play Guide" knows 
what plays to see, and where all the 
interesting people go afterwards. It 
has at its finger tips the chic florists, 
the smart sweetmeat shops, the beauty 
places, about town. 



The "Play Guide," Theatre Magazine 
6 East 39th Street 



New York 



Plays That Continue on Broadway 



Drama 
Bat, The 

Cat And The Canary, The 

Charlatan, The 

Fannie Hawthorn 

Goldfish, The 

Hairy Ape, The 

He Who Gets Slapped 

Nest, The 

Truth About Blayds, The 

Up The Ladder 



Rotters, The 
Makers of Light 



Comedy 

Advertising of Kate, The 
Billeted 

Bronx Express, The 
Captain Applejack 
Chauve Souris 
Czarina, The 
Demi Virgin, The 
Dover Road, The 
First Year, The 
French Doll, The 
Kerapy 
Kiki 

Lawful Larceny 
Partners Again 
Rubicon, The 
Six Cylinder Love 
To The Ladies 



New Plays 



Salome 



Musical 
Blossom Time 

Blushing Bride, The 

Good Morning, Dearie 

Hotel Mouse, The 

Make It Snappy 

Marjolaine 

Music Box Revue, The 

Perfect Fool, The 

Rose of Stamboul, The 

Shuffle Along 

Tangerine 



Ziegfeld Follies of 1922 
Abe's Irish Rose 



B. F. Keith's 




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THE LEADING 

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The 
Tlay Guide' 

Is At Your 
Service 
Free of Charge 



Address; 

The "Play Guide" 

Theatre Magazine 

6 East 39th St., New York 

Tel.: Murray Hill 62 



[63] 



Amateur Exchange 



THE GOLD CIRCLE 

(Continued from page 44) 



Music Library 



TAMS Music 

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The Importance 

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After you have selected 
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present urge to pride and insurrec- 
tion. No, my children, a great lump 
of gold, such as this, is meant only 
for the treasure of an emperor, since 
he alone may use it wisely. A lump 
of gold like this a thousand maidens 
dancing in the light of torches the 
thread of ten thousand marching men 
the light in the eye of the Emperor's 
greatest of gods Hear you now my 
judgment. Set down the Holy One 
that I may pray, even here by the 
roadside; and first let mine artificers 
beat out this lump of gold for a 
crown for the brow of the God that 
he may hear my prayers. I wait. 

( The Emperor's throne is set at 
the side of the road. Rich rugs 
are laid before it, and he descends, 
seating himself on the ground. 
Music sounds and a group of 
dancers come before him. To the 
beat of the dancers' music, the 
artificers hammer out the lump of 
gold into a circle, and when the 
dance is finished the chief artificer 
brings it, bows to the Waz'ir, who 
presents it to the Emperor. The 
Emperor now steps forward facing 
the god, holding the circlet before 
him ) . 

THE EMPEROR 

Let all give place. Let all ears be 
stopped and eyes be blinded, for my 
prayer is between myself and the 
greatest of our gods, inviolate. 

(The Emperor's people all retire to 
a distance, and the Emperor ap- 
proaches the God; as the others re- 
tire, the Greek slave, the original 
finder of the nugget, conceals him- 
self behind the image of the god). 

THE EMPEROR 

(Lays the circlet on the knees of 
the God, salaams and still kneeling 
speaks his prayer). 

Bright and Mysterious one, Lord of 
the Destiny of the land, and of the 
blood of its kings, to thee I make 
again my prayer; again this offering 
of heavy gold. Hear me, Holy and 



Mysterious Master of Life. I go to 
lead down upon the plains of the 
world mine armies. Give me to tri- 
umph over mine enemies that I may 
lay at thy feet the lordship of the 
world. Be mine enemies, thine also, 
and I will build for thee out of their 
lives a temple of sculls, higher than 
the palace thou hast granted me; 
and across thy path and mine shall 
flow a river of hostile blood, smoking 
beneath the moon; and at the end of 
that river, I shall find a crown of 
earth's dominion, beside which, this 
crown I offer is as yonder pool to 
the ocean that flows around the 
world. Bright and Shining One I 
bow my head before thee, waiting, 
waiting thy sign. 

(The Emperor bows his head, and 
as he does so, the Greek steals out 
from behind the god, stabs him, 
seizes the circlet of gold and con- 
ceals himself inside the hollow im- 
age. There is a pause, then the 
Wazir ventures forward. He comes 
close to the Emperor's body and 
seeing that he is dead, stops sud- 
denly, he is about to give the alarm 
but on second thought postpones it 
until he has made search for the 
gold; finding that it is gone, he 
cries out, prostrating himself before 
the image). 

THE WAZIR 

Spare me. Spare us all, Great and 
Terrible One. Spare me from this 
and I will feed Thee with gold for- 
ever. 

(He goes back to the Center and 
cries out): 

Lament, bow down and weep, all ye 
people, for the Lord of the Land, the 
Lord of the World is dead. 

(To the wailing of the people the 
bearers of the image take up their 
burden; and the dead Emperor in 
his litter, with all his train, moves 
off along the roadway). 

CURTAIN 



Cofyright, 1922, By Thomas Wood Stevens 




THE MERCHANT 

An orange robe, with bright 
yellow sandals, sash and 
turban comple:es the mer- 
chant's cos;ume 



Professional Schools 

Recommended by 

The Theatre Magazine 

Catalogues will be sent on request 



American 

Academy of 

Dramatic 

Arts 

Franklin H. Sargent, President 

The leading institution 
for Dramatic and Ex- 
pressional Training in 
America. 

Detailed catalog from the Secretary 

ROOM 172, CARNEGIE HALL, 
NEW YORK 

Connected with Charles Frohinan's 
Empire Theatre and Companies 



Yvette 
Guilbert 

SCHOOL THEATRE 

New York Fourth Year 

October, 1922 to April, 1923 

The Third Educational Trip lo Europe 

will be arranged for the Pupils in Ine 

Spring of 1923 

Address applications to Secretary of tlie School 
Hotel Majestic. New York City (Knabe Piano) 



Teachers Actors Producers 

An intensive Summer Course in Dra- 
matic Technique, Staging of Plays, 
Dalcroze Eurythmics, and Stagecraft. 
My 7-31. Full particulars ufati request 
GRACE HICKOX STUDIOS 



Fine Arts Bldg. 



Chicago 



PERFECT FRENCH 

acquired by conversing and reading 
with a Parisian young lady. 

Address M.J., c/o Theatre Magazine 
6 East 39th Street New York 



DENISHAWN 

The Ruth St. Denis and Ted Shawn 
School of Dancing and its related arts 

SUMMER 1922 
DENISHAWN IN NEW YORK 

Phone Longacre 7233 
80 WEST 40th STREET NEW YORK 



[64] 



RIVERSIDE PRESS, NEW YOHK 







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Medium size lOc 



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Theatre Magazine 
August, 1922 



THEATRE MAGAZINE is published on the fifteenth of each month by Theatre Magazine Company, 6 East 
39th Street, New York. SUBSCRIPTIONS $4.00 a year in advance. Yearly Indexes 25c. Entered 
as second-class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879. 



Vol. No. 36, No. 2 
Whole No. 257 



B. F. Keith's 




The Million Dollar Theatre 

BROADWAY AND 47th ST. 

NEW YORK 

THE LEADING 

VAUDEVILLE 

HOUSE OF THE WORLD 

AND PREMIER 

MUSIC HALL 

Those who love distinction 
and luxury will find the ap- 
pointments of this theatre 
completely to their liking. 
In the bills presented there's 
a dash of everything worth 
while in theatricals. The 
best that the Operatic, Dra- 
matic, Concert, Comedy 
and Vaudeville stages can 
offer, blended by experts 
in entertainment 

DAILY MATINEES, 25c, 50c, 
75c, and Best Seats $1.00 

EVENINGS, 25c, SOc, 75c, 
$1.00, $1.50 and $2.00 

Except Sundays and Holiday* 



The 
"Play Guide' 

Is At Your 
Service 
Free of Charge 



Address; 

The "Play Guide" 

Theatre Magazine 

6 East 39th St., New York 

Tel.: Murray Hill 62 




Theatre Magazine's 
? Play Guide'' 

The "Play Guide" of Theatre Maga- 
zine, is a guide for young and old, to 
America's greatest playground. New 
York City. 

Mark the "Play Guide's" signposts 
well! It will help you avoid false 
starts, anti-climaxes, and the malaise 
of wrong places. 

It can make of you that most popular 
human, male or female, "the person 
who knows the right thing." 

The epicurean "Play Guide" knows 
what plays to see, and where all the 
interesting people go afterwards. It 
has at its finger tips the chic florists, 
the smart sweetmeat shops, the beauty 
places, about town. 



The "Play Guide," Theatre Magazine 
6 East 39th Street 



New York 



Plays That Continue on Broadway 



Comedy 

Abie's Irish Rose 
Captain Applejack 
Charlatan, The 
Chauve-Souria 
Dover Road, The 
Kempy 
Kiki 

Lawful Larceny 
Partners Again 
Pinch Hitter, A 
Six Cylinder Love 



Drama 
Bat, The 

Cat and the Canary, The 

From Morn to Midnight 

Goldfish, The 

Hairy Ape, The 

He Who Gels Slapped 

Up the Ladder 



Musical 
Blossom Time 
Good Morning, Dearie 
Make It Snappy 
Music Box Revue, The 
Perfect Fool, The 
Rose of Stamboul, The 
Shuffle Along 
Ziegfeld Follies 



New Plays 



Pin Wheel 



Circle, The 

Elsie Janis Review 

Greenwich Village Follies 



Plays On Tour 

Lightnin* 

Liliom 

Mr. Pirn Passes By 



Sally 

Smilin' Through 

Tip Top 



RFI ASfO Wn44thSrert. E. M ..,8.20 
DE.LAOIU M.U. Thim. c S.t. at 2.20 

"The most finished piece of acting of the 
season." Heyulood Broun, World 

David Belasco presents 

LENORE ULRIC as KIKI 






Smart Places to Dine 



BAUM GARTEN/ 



IDEAL FOOD AND 

FftMOU/VIENNE/E 

DEFECT/ 




SOCIKTY'S L.ATKST FAD 

"Under Southern Skies" 

PLANTATION 

American Itoom Charmine 

Entertainment Unique 

AFTER THEATRE 60TH AT BROADWAY 

Advance Reservation Only 

Phone Circle 2331 
"YOU'LL LOVE IT" 



When You 
Plan 



a trip to New York, write or 
telephone for suggestions and 
advice concerning plays and 
concerts, and where the best 
seats may be secured unusu- 
al places to dine and dance 
the smart beauty shops where 
you may be transformed and 
refreshed after your journey 
the shops where the choicest 
blooms and sweets may be 
found. All these and many 
more useful bits of informa- 
tion will be added unto you 

if you consult 

The'Tlay Guide" 



[66] 



Thratrr Mttgafine, Augutl. 19** 




J. W. Pondelicek 



CONTENTS FOR AUGUST, 1922 



Articles and their Authors 



"The Sand Cherry Tree" 

(Posed by Bozena Pondelicek) ... .Contents Illustration 67 

Frontispiece 69 

Editorial 70 

Two New Plays of Strong Appeal 71 

An Actress Who Plays Unusual Women Carol Bird 72 

Distinguished Figures in Current Drama 73 

The Jury Judges Its First Play F. A. Austin 74 

Betty Jewel Full Page Portrait 75 

Is the Little Theatre a Really Big Movement? 

Harcourt Farmer 76 

Beauty in Musical Comedy 77 

Behold, the Audience! Mildred Cram 78 

Florence Reed Full Page Study 79 

"The Hairy Ape" (Excerpts from) Eugene O'Neill 80 

Russian Singers in Exile 81 

Plays in Serious and Lighter Vein 83 

Cleveland's Splendid New Theatres 85 

Heard on Broadway 86 




Equity Stars Shine in Annual Show 87 

Graceful Devotees of the Dance 89 

What's the Matter With Musical Comedy? 

Edgar MacOregor 90 

Florence O'Denishawn Full Page Study 91 

Seen in the Passing Show 92 

Mr. Hornblow Goes to the Play 93 

"The Rivals" "Makers of Light" "A Pinch Hitter" 
"From Morn to Midnight" "Fanny Hawthorn" "Red 
Pepper" "Abie's Irish Rose" "The Drums of Jeopardy" 
"The Rotters"- 

The One Man Show Alia May Coleman 96 

Musical Comedy Girls 97 

Twenty Years of Theatre Building Burr C. Cook 98 

Where Are the Favorites of Yesterday. .M a ry F. Watkins 100 

Characters in "The Rivals" 101 

Enter the Monkey Man Carol Bird 102 

Martha Mansfield Full Page Portrait 103 

Patti's CastleA Shrine of Art Charles H. Dorr 104 

Amateur Stage M. E. Kehoe 105 

Fashions . ..Anne Archbald 109 



Cover Design by Paul t'urstenberg 



F. E. ALLAROT. Director of Circulation 



LOUIS MEYER) 

PAUL MEYER / Publisher 



Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern, 

president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four 

dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c. 



[67] 




\ 



Sousas Band plays for you 

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Victrolas $25 to $1500. New Victor Records 
demonstrated at all dealers in Victor products on the 
1st of each month. 




\ 



Victrola 



REG. U. S. PAT. OFF. 



"HIS MASTER'S VOICE" 

Important : Look for these trade-marks. Under the lid. On the label. 

Victor Talking Machine Company, Camden, New Jersey 



VOL. XXXVI No. 257 



THEATRE MAGAZINE 



AUGUST, 1922 



Maurice Goldberg 

VERA FOKINA 
As she appeared in the ballet "Marquise," in which she danced with Fokine. 




[69] 



THE THEATRE MAGAZINE 



ARTHUR HORNBLOW. Editor 




Editorial 

Thoughts on an Actors' Theatre 



THE greatest playwrights the world has ever known were 
actors. Shakespeare was inconspicuous as a mummer and 
Moliere is best remembered by his comedies, but both 
dramatists wore the motley before they astonished the world 
with their plays. In more recent times, instances are frequent 
where the success of a given playwright can be traced to the 
invaluable experience he gained as an actor, to wit: A. W. 
Pinero, H. V. Esmond, Charles Klein, Frank Craven, George 
M. Cohan, Grant Stewart, Gilbert Emery, the Nugents, Edgar 
Selwyn, et al. 

It would seem, then, that the stage is the best possible school 
for budding dramatists, and that it is to the actor we may 
look, not only for good plays, but also for the regeneration of 
the Theatre itself and its deliverance from the clutches of the 
speculative manager. 

So impressed are some of our leading players with the poten- 
tialities of the present theatrical situation that they have con- 
ceived the idea of an Actors' Theatre. It is not a new idea. 
In fact,, as far as the theatre in this country is concerned, the 
idea of a theatre controlled wholly by actors is over a hundred 
years old. One of the most successful plays ever seen in 
America, "The Honeymoon," by John Tobin, was produced 
by a group of actors. This was at the old Park Theatre, May 
27, 1805, when an organization described as a "commonwealth 
of playets" took over the reins of management of that historic 
house following the retirement of William Dunlap from the 
managerial field. The Theatre Guild, now one of Broadway's 
most successful producing houses, is practically an actors' thea- 
tre. Most of the promoters and actual directors are players, 
and the theatre itself is conducted on a co-operative, sharing 
plan. The Actors' Equity Association proposes to do much the 
same thing on a more ambitious scale. They have leased the 
Forty-eighth Street Theatre from August 1st, this year, and 
during the coming season at least five productions are to be 
made. There is also to be a Festival week of revivals, during 
which there will be a different play at each performance, includ- 
ing the lesser known plays of Shakespeare, and the best plays of 
the ancjent and modern dramatists. 

ALL true lovers of the Theatre will wish Equity's new ven- 
ture well, for this association of players not only promises 
to give us better plays, but will also impart new dignity to the 
profession of the player. As John Ranken Towse in a recent 
issue of the New York Evening Post says: 

"Present day managerial policy has resulted in the 
gradual disappearance of first class actors from the stage. 
That there may be a vast amount of latent histrionic 
ability, perhaps of the highest order, in the junior ranks of 
our players is at least a plausible proposition. Every now 
and again we get a flash of it. But, speaking broadly, 
there has been no chance of developing it under the rule 
of the commercial oligarchy to which the profession has 
allowed itself to become enslaved. And in this rule, which 
has denied the exercise of its highest privileges, the vast bulk 
of its membership has tacitly and supinely acquiesced. It has 
allowed itself to be confined to the least desirable pastures 
of the dramatic field, without a thought of breaking bounds, 
assuming its own direction and seeking to regain its own 



hereditary possessions. Of all the intelligent professions 
it is the only one that has consented to the government, 
dictation, and restrictions of an alien and unsympathetic 
group. And it has endured this humiliating and mischie- 
vous tutelage for nearly fifty years, has allowed itself to 
sink deeper and deeper under its domination, in face of the 
fact that, throughout the whole history of the English- 
speaking theatre, all the great dramatic and artistic 
achievements have been wrought by players who acknowl- 
edged no direction but their own, and fulfilled their own 
destiny. There are indications, at least, that the lessons 
of the past are beginning to impress themselves upon the 
consciousness and stir the ambitions of a considerable 
number of our players. And they are very welcome. 
Every sign of revolt against the pernicious and short- 
sighted system that has been bringing the theatre more and 
more into disrepute, is encouraging." 

PHE present silly exploitation of ready-made stars must come 
*- to an end. Mediocrity must surrender the center of the 
stage to competence. Acting will again be given recognition as 
the most important art of the Theatre. The play's the thing, 
yet the importance of the actor must not be overlooked. As 
Granville Barker reminds us, "for all the dramatist's impor- 
tance, acting is not only the original art of the Theatre, it 
remains its peculiar foundation." The matter is also put 
succinctly by Gilbert Emery in a recent letter to the Times: 
"The profession of the actor has never been taken with 
any proper degree of seriousness in this country the only 
country, alas! which does not accord it its due. It is a 
pity. The individual actor may become a public idol, a 
household word. The theatres wherein the actors display 
their talents may be crowded with enthusiastic patrons 
for we are a theatre-going people. 'That is So-and-So!' 
may be whispered thrillingly in the street as the actor 
passes, but his profession, the fineness of it, the essential 
value of it as one of the arts, is regarded with an intolerable 
condescension by many, and by others with an equally in- 
tolerable bigotry. If the public would render to that pro- 
fession its honorable due, the state of dramatic art and of 
its exponents in America would be a happier and a more 
fruitful one." 

The details of the ways and means by which the Actors' 
Theatre is to become a realization, as given out to the press, are 
interesting. The organization is to be financed by securing seat 
subscriptions for a series of five plays produced at less than box 
office prices. In order to create confidence in the minds of 
subscribers a Guarantors Fund has been started. Those who 
contribute towards this fund receive no dividends, but will be 
repaid before any profits are credited to this subsidiary organi- 
zation now incorporated as "Equity Players, Inc." Members 
of the theatrical profession are said to have already contributed 
more than $117,000. 

The money paid in by the Guarantors will start the enter- 
prise and it is believed the seat subscriptions will be sufficient 
to insure against financial loss. The season will open about 
the middle of October, with Augustin Duncan as Director 
General. 



[70] 



Tkealrt Uagatitu. Ann*'!, 




White 



ALLAN POLLOCK AND J. M. 

KERRIGAN IN "A PINCH 

HITTER" AT THE HENRY 

MILLER THEATRE. 

Dennis Lestrange (Allan Pollock), 

though penniless, lights a cigarette 

with a check just handed him by 

Mr. Prothero. 



CLELIA BENJAMIN, 
FRANK REICHER AND 
CAROLYN HANCOCK IN 
"FROM MORN TO MID- 
NIGHT" AT THE GAR- 
RICK THEATRE. 

The hank cashier yields to 
woman, wine and song until 
finally he blows out his 
brains in a Salvation Army 
bar-room. 




TWO NEW PLAYS 



O F 

[71] 



Brugutere 

STRONG APPEAL 



An Actress Who Plays Unusual Women 

Helen Westley an Interpreter of Strange -and Diversified Character Roles 

By CAROL BIRD . 



STRANGE roles of strange women 
have fallen to the lot of Helen 
Westley. Miss Westley is a character 
actress and a member of the Board of 
Managers of The Theatre Guild. The 
women she has been selected to portray are 
odd creatures: some of them malevolent, 
others neurotic, several passionately jealous, 
a few seductive, some shrewish. All of 
them are distinctly different types. And 
most of them are possessed of a repellant 
quality. 

Take Miss Westley's role of Zinida, the 
lion tamer, in "He Who Gets Slapped," 
a Theatre Guild production. Zinida, a 
passionate, primitive creature, is married 
to the manager of the circus. But marriage 
by no means holds her in leash. She is 
enamored of Bezano, a bareback rider in 
her husband's employ. He loves the eques- 
trian queen of the circus, but Zinida has 
little pride where an affair of the heart 
is concerned. She hurls her love at him, 
pleads passionately for him to requite it, 
is enraged when he scoffs at her. She 
makes love to other men she meets. But, 
above all, she is possessed of a burning de- 
sire to have her lions love her. She wills 
it. She braves death in their cages in order 
to cajole them into caring for her. Others 
in the circus think it a strange and un- 
fathomable whim. They say the lions hate 
and fear her. She despises the little eques- 
trienne who is beloved by Bezano. Every 
one agrees that Zinida has "the evil eye." 
A strange, strange woman! 

THEN there was the time that Miss 
Westley was cast as a peasant woman 
in "The Power of Darkness." She plots 
and plans the murder of a little baby, and 
sits on the infant to smother it. 

In Strindberg's "The Dancing Death," 
Miss Westley was a wife, "sexy, modern 
and neurotic," as she herself described the 
role. In "Jane Clegg" she had a mother- 
in-law part. She explained that this par- 
ticular mother-in-law was "a horrible old 
witch, the kind you'd hate to have hanging 
around the house." In "The Treasure," 
Miss Westley was cast as an old Jewish 
woman. The few roles she has delineated 
which were in contrast to the shrew-hag- 
witch creations, were those in "Bonds of 
Interest," when she was cast as a beauti- 
ful and charming woman of high degree, 
and when she wore quaint hoop skirts and 
lacey frills; in "The Faithful," when she 
played a Japanese woman of high caste, 
a grandee; and in "John Ferguson," when 
she represented a mother sweet, gentle, 
and devoted to her family. 

Again in striking contrast to these last 
named roles was the one she had in 
"Liliom," when, as the elderly owner of a 
Merry-Go-Round, she again lapsed into a 
state of shrewishness. She alternately pets 
and discharges her roughneck barker, 
Liliom. She tries to browbeat him. She 



throws ouj bodily from her carousel a little 
servant girl whom she suspects Liliom likes. 
She slaps and pinches her. And she tries to 
buy back Liliom's waning affection ' with 
gold. She connives, she entreats, she scolds 
and nags. Finally, in a violent rage, she 
"washes her hands of Liliom," and com- 
forts herself by spitting in his face as she 
departs. 

AFTER seeing the character actress in 
these various strange roles, we decided 
to go back stage and see this interesting 
lady in the role of Helen Westley. We 
expected to meet a gentle, demure, little 
soul who would finger fondly a photograph 
of her mother. Or who would tell us 
about six dear little children at home, and 
all about the baby's new tooth. We ex- 
pected all these things because it has been 
our experience to observe a metamorphosis 
of this kind. So many times the dashing 
vampire has proved to be a devoted wife 
off stage; the demure ingenue, a dashing 
vampire; the wrinkled mother, a young 
beautiful thing with unlined satin skin, 
and the beautiful young thing a middle- 
aged woman. 

We found Miss Westley in her dressing 
room. She isn't demure, nor does she speak 
fondly of "the home folks." There is some- 
thing distinctly exotic and baffling about 
her. She looks a great deal like the flaming 
Zinida, the lion tamer of "He Who Gets 
Slapped." And she looks nothing at all 
like the stout old harridan of "Liliom." 
Zinida is lithe and slender. So is Miss 
Westley. At any rate, she gives one the 
impression that she is slender. There is 
an enigmatical expression in her eyes. She 
lolls back in a chair smoking, and gazes 
at you from under heavy lids. Though 
she has on a tailored street costume, she 
wears about her neck a string of odd Ori- 
ental beads. On her wrists are several 
odd looking jangling bracelets, one of jade. 
Absent-mindedly, she fingers a string of 
bright beads which are on her dressing 
table, and then she announces abruptly: 

I AM indifferent to objects. Furniture 
and clothes and other inanimate things 
do not attract me in the least. I wouldn't 
walk a block to see the most wonderful 
vase in the world. Exhibitions of various 
kinds bore me to extinction. I never can 
understand why some people make so much 
fuss about them. Objects are unimportant. 
Why bother about them?" 

We ventured to ask what Miss Westley 
did think important, and she answered 
quickly: 

"Love! Love is the greatest thing in 
life! Why deny it? What is even Fame 
compared to it? Even though a woman is 
successful in her chosen occupation or pro- 
fession, what does success mean to her if 
her heart is empty? Nothing. Absolutely 
nothing. A woman must love and be loved 



in order to be completely happy. Love is 
a powerful force, the value of which I, 
for one, shall never think of under-estimat- 
ing. And, in addition to love, I believe, of 
course, that one's work is important. I am 
profoundly interested in plays with the big 
idea. I think that the play is the important 
feature, actors and acting come secondary. 
When I read a play, I do not think of it 
from the personal viewpoint do not ab- 
sorb it with merely the thought of whether 
my role in it will be important or not. 
Very often I have been asked whether or 
not I personally rebel at certain roles which 
have fallen to my lot. Of course, my in- 
quisitors refer to the witch-women I have 
portrayed. I can only say that, were I to 
dislike any of my roles because they repre- 
sented unpleasant characters, I would be 
more of a woman than an actress. It would 
be purely womanish to feel that way about 
it. 

WHY, I didn't even hate to be that 
sixty-five-year-old witch who mur- 
dered the baby. She was such a picturesque 
old devil ! I enjoyed making up for it. 
1 had my teeth blacked to make me look 
like a toothless old hag. I kept in mind, 
of course, the cause of this old devil's 
devilishness. She was a poor peasant 
woman, densely ignorant. The play dealt 
with the moral darkness of Russian peas- 
ants. One would, of course, hate the old 
wretch for smothering the dear, harmless 
babe, but one could also bear in mind her 
undeveloped, unillumined mind. 

"One of my difficult roles was in "The 
Treasure." I was an old Jewish woman. 
I hold that it is impossible to present Jew- 
ish folk-plays unless they are presented with 
an all- Hebrew cast. It is practically im- 
possible to bring out those striking racial 
characteristics of, particularly, the older 
generation of Jews unless one is of the 
same race. I like unmixed blood, however. 
I like to portray a woman who is a pure- 
blood of some kind. Funny thing, I like 
my friends to be one clear-cut nationality, 
too. It doesn't matter if they are Russian, 
French, Spanish, or Scandinavian, as long 
as they haven't any mixed blood. I believe 
you can trust the "thoroughbred," and, of 
course, you must admit that a man or 
woman of unmixed blood is more of a 
thoroughbred than the other type. Just 
as there are mongrel dogs there are mon- 
grel humans. I believe that there are 
certain characteristics definitely associated 
with, say, the English. When dealing with 
a pure Englishman or Englishwoman, you 
know what to expect. He, or she will, as 
a rule, run true to form. - Now the man 
who has the blood of several races or na- 
tionalities flowing in his veins isn't so easy 
to decipher. He may be more interesting, 
but he is, at the same time, more complex. 
You never know what to expect from him. 
(Continued on page 124) 



[72] 



Jkralre Mai/altnt. August, I9*t 






LILLIAN WHITE 

Who, with her sister, Ruth, has left 
their native Boston far behind to 
become one of the fixture "hits" of 
the Dillingham musical shows. 
"Good Morning, Dearie" is the lat- 
est in which these attractive young 
dancers have appeared. 



DOROTHY DICKSON 

This ever popular and charming 
young dancer has come out of the 
fil-lums and again taken to the pol- 
ished floors and insinuating melodies 
of her natural habitat. 





Kesslcre 



RUTH WHITE 

Beautiful sister of the lovely Lillian 

and already at the age of 18 a 

featured dancer with the Dillingham 

productions. 



DISTINGUISHED FIGURES IN CURRENT DRAMA 



[73] 



The Jury Judges Its First Play 



By F. A. AUSTIN 



SCENE I. 

OFFICE of the producer of "Bertie of 
the Boudoirs." Present, the Pro- 
ducer and the Publicity Manager. 
The former is irritated and the latter is 
gloomy. 

PRODUCER: "Well, why don't you get 
busy and do something to boost the show? 
Another week like this and Bertie will go 
to the storehouse." 

PUBLICITY MANAGER: "It's too tame, 
tame as a prop lion, not a bite in it." 
PRODUCER: "Tame with that title? 
Don't boodwars suggest beds and taking 
off things?" 

PUBLICITY MANAGER: "There isn't a 
bed in the show. Besides boudwah doesn't 
mean bed. It means chaze long and 
cushions, a place where the ladies read or 
rest or receive intimate friends, not their 
husbands. And they don't undress in it. 
They merely wear their lingerie carelessly." 
PRODUCER: "Well, we can put a bed in 
it, can't we?" 

PUBLICITY MANAGER: "Audiences are 
fed up on beds. All they expect from them 
is snores." 

PRODUCER: "Well, we must do some- 
thing." 

PUBLICITY MANAGER: "I have it, the 
new Voluntary Jury which is to decide if 
plays are fit to be seen and heard, the jury 
chosen by the Joint Committee Opposed to 
Political Censorship of the Theatre! 
There's our chance.'' 

PRODUCER: (Jumping to his feet and 
waving his arms). "You've got it. Get 
a complaint! Have the Jury try Bertie! 
Publicity! That'll bring 'em in!" 
PUBLICITY MANAGER: "All we have to 
do is to show soinething offensive to public 
morals and get complained about. I'll see 
that a bushel of complaints is sent to the 
proper authorities. That will be free ad- 
vertisement Number I. Jury announces 
it will see show. Second free add. Jury 
reports that it has seen the show. Third 
free ad. Jury decides changes must be 
made. Fourth free ad. Jury comes to see 
if changes are satisfactory. Fifth free ad. 
Decides changes are satisfactory and that 
play can go on. Sixth free ad. 

"We don't need raw and rancid stuff 
none of those Shaw words which don't 
even wear a union suit. What is the great- 
est offense we can give to public morals? 
Why, make 'em think they are going to 
be shocked and then don't shock 'em. 
We'll change the title. Make it 'The Semi- 
Wife.' Then we rewrite the third act. 
We'll have Bertie, who in the first two 
acts has been as ferocious as a Blenheim 
spaniel, suddenly turn He-man while 
visiting his wife, with whom he has not 
been living, in her boudoir. They had a 
civil marriage but it didn't stay so. He 
tells her that she must become wholly his 
wife and locks all the doors but one. He 
begins to disrobe. He takes off his collar, 
tie, coat, vest, and shoes. Every time he 
takes off anything he says, 'You must be 



wholly mine,' gloats at her and makes 
funny noises, like a starving Russian who 
has sighted a lake of soup. 

"Every once in a while he forcibly em- 
braces her, for instance, with one shoe off 
and one in his hand. Then he goes to 
the unlocked door, throws it open and 
shouts, 'The hour has come, in with you.' 
He seizes her and drags her to the door, 
she struggling desperately. A minister 
steps out and Bertie says, 'There, you darn 
fool, all I want you to do is to go through 
the Methodist marriage ceremony. I can't 
get the legacy from Uncle Hezekiah unless 
we do. He stipulated in his will that I 
must be married in my shirt sleeves and 
stocking feet. When I get the legacy I'll 
pay you to go away from here.' " 
PRODUCER: "Great! Go to it!" 

SCENE II. 

Rooms of the drama League. The 
twelve Volunteer Jurymen, having seen 
a performance of "The Semi-Wife," have 
gathered to make their decision. Several 
of the Jurymen are Jurywomen. The lat- 
ter appear peeved and the former, with the 
exception of the Foreman, bored. He ap- 
pears impressed with the solemnity of the 
occasion. 

FOREMAN: "Fellow jurors, we are as- 
sembled to decide if the numerous com- 
plaints against 'The Semi-Wife,' a 
performance of which we have witnessed, 
as a play in part objectionable from the 
point of view of public morals, are justi- 
fied. If nine of us agree that the complaints 
are justified, the offending parts must be 
removed, whereupon we will again view 
the performance and if changes have been 
made to our satisfaction we will allow it 
to continue." 

FIRST JURYMAN: "Before we go any 
further what are the public's morals?" 
CHORUS OF JURORS: "Profiteering" 'get- 
ting divorces' 'getting alimony' 'smug- 
gling jewelry and liquor' 'bootlegging' 
'making home brew' 'alienating their 
friend's wife's or husband's affections' 
'reforming everybody but themselves' 
'killing pedestrians with automobiles' 
'running bucket shops' 'grafting in pub- 
lic and private business' 'cuddling in 
public conveyances' 'cultivating bad man- 
ners under the pretense of defying con- 
vention' 'falsifying income tax returns' 
'gouging rent-payers' 'fracturing the spirit 
of the law without breaking the letter' 
'bathing in crime waves' 'going to church 
on Sundays and wrecking railroads on 
Mondays.' " 

FOREMAN: "None of these things con- 
cern the subject in hand. Is 'The Semi- 
Wife' a salacious play?" 
FIRST JURYWOMAN: "It certainly is. The 
spectacle of a man taking off his shoes in 
public is sure to sap the morals of our 
young people." 

SECOND JURYMAN: "That's rich. What 
about the nude stockings, above-the-knee 



skirts and midriff-cut waists you women 
wear on the streets?" 
SECOND JURYWOMAN: "The idea of 
Bertie telling his wife he will pay her to 
go away when he gets his legacy is most 
offensive. It undermines the sanctity of 
the marriage tie." 

THIRD JURYMAN: "I know lots of men 
who would do that. All they need is the 
legacy. They'd make the marriage tie a 
slip knot." 

FOURTH JURYMAN: "What becomes of 
us if we stop all the salacious plays? There 
won't be any need for our services then 
and we'll have to pay for our theatre seats. 
There won't be anybody left to purge the 
d'-ama but the critics who know something 
about it." 

THIRD JURYWOMAN: "Yes, and what 
would become of our Better Public Shows 
Movement? Nothing would be left for us 
but sessions of Congress and they are hope- 
less." 

FIFTH JURYMAN: "We ought to force 
them to make some sort of a change. If 
we don't we can't see the play a second 
time." 

FOURTH JURYWOMAN: "It all depends 
on the definition of salaciousness. Sala- 
cious, you know, comes from the Latin 
salio, to leap. Bertie does leap at his wife 
in the boudoir scene to embrace her but is 
his leap salacious? I think not. He is 
merely trying to reach a given point in the 
shortest time. When we speak of Leap 
Year we do not mean that the year is go- 
ing to be a salacious year. If Bertie should 
bite his wife on the shoulder, you would 
call that act salacious." 
SIXTH JURYMAN: "What is this, a ses- 
sion of the League to Suppress Mayhem?" 
THIRD JURYWOMAN: "It seems to me 
that the whole intent and purpose of the 
third act is to make the audience think 
Bertie is going to drag his wife into a bed- 
room and that the dialogue is intended, up 
to a certain point, to convey an impression 
which is not supposed to be conveyed in 
public or thought out loud." 
SIXTH JURYMAN: "Now we're getting 
down to it. It's all a matter of intent. 
If you call a spade a spade right out in the 
open, there's no harm done because our 
emancipated women are doing it in public 
all the time and serving sex with the salad 
course. Everybody knows there are spades, 
they argue, and public morals are not of- 
fended by stating the fact so long as the 
intent is to consider the spade seriously 
as an agricultural implement. But if you 
talk about a spade in such a way that you 
make the audience think they are going to 
see it used as a cricket bat and don't show 
it to them in action you have committed an 
offense against public morality. You treat 
the spade with levity instead of seriousness 
and therein lies the offense." 
FOURTH JURYWOMAN: "From a Freud- 
ian point of view I quite agree. We psy- 
choanalysts know that any complex must 
(Continued on page 124) 



[74] 



Mat/Clint, Auguit, Ifti 




Alfred Cheney Johnston 



BETTY 



JEWEL 



This lovely young Omaha girl recently stepped from a convent garden into a small part in the latest Griffith 
picture, where her charm and beauty have already won her the title "The Third Orphan of the Storm." 



75 



Is The Little Theatre A Really Big Movement? 

Meaning, somewhat pertinently, has it actually accomplished all it set out to do? 

By HARCOURT FARMER 



IF there, are 867,561,000 playwrights in 
America, there must be at least 867.- 
562,000 actors. Some of them act as 
a serious business. Some go into the movies. 
The rest form Little Theatres. 

These same little theatres have had 
several years' innings now; let us dissect 
and analyze. 

There are many amateur actors who 
yearn to be professionals. I suppose there 
must be many professionals who, wearying 
of tiresome routine, long to be amateurs 
again. Well, the little theatre affords an 
interesting compromise between the two 
desires. If you are an amateur, the little 
theatre will give you an excellent oppor- 
tunity to act the parts played by John 
Barrymore. You may not act them quite 
as he does. There may be noticeable dif- 
ferences between your conception and his, 
some of them exceedingly noticeable. But, 
at least, you are definitely acting in real 
plays before real people, and after all you 
are not just taking part in an "amateur 
show" : you are in a^ Little Theatre. 

And if you are a professional of experi- 
ence and find yourself ousted from a 
promising engagement because the manage- 
ment decided to do some other play, in 
which some new managerial protegee 
fresh from the convent is to be starred, 
well, here are the scores of little theatres 
all over the country. True, the acting con- 
ditions are not always of the smoothest ; 
some of the stages aren't smooth, either. 
But it means money, and God knows what 
that means to the average professional, 
sometimes. 

"VTOU know, there are many acidulated 
A minds who contend that this very up- 
springing of little theatres everywhere tends 
to undermine the regular attendance at 
regular theatres, and hence jeopardizes the 
livelihood of the paid actor. Perhaps what 
they say isn't true, and possibly it's as 
nebulous as one of Sir Gilbert Parker's 
scenarios, but I pass it on to you just as 
it was passed on to me. 

The true little theatre originated when 
the Theatre Antoine blossomed in Paris, 
moons ago. It had a legitimate brother in 
the Moscow Art Theatre. And subsequent- 
ly we had the growth of the repertory 
movement in England. They were urgently 
wanted ; they were supplied. But they were 
supplied by serious professional people who 
realized that a powerful counterblast to the 
ordinary commercial theatre was necessary, 
if dramatic art was not to perish wholly 
from the earth. They were organized, de- 
veloped, maintained and operated by au- 
thentic and experienced artists who put, 
so to speak, their life blood into these 
theatres that they might live. The history 
of the Moscow Art Theatre is the history 
of the modern theatre, and the doings of 
the average commercial theatre provide 
sardonic footnotes to that history. 



For countless years we have had the 
amateur actor in our midst. Presumably 
we shall continue to have him. It is useless 
to quarrel with the fact, even if we do like 
our drama straight. The development of 
the artist must begin somewhere. Once 
John Drew couldn't cross gracefully to 
Right Center, and there was a time when 
E. H. Sothern didn't know very much 
about reading blank verse. Yes, it is mani- 
fest that every artist begins as an amateur. 
r t is when the amateur condition ends and 
the professional condition begins, that the 
dramatic artist becomes a personal unit of 
value to the playhouse. For the trouble 
with the majority of the amateur actors is 
that they're always in the novice year. 
Sometimes an amateur outgrows this class. 
He it is who graduates into the wider field 
of professionalism. 

THE little theatres of the country grew 
out of a natural wish to have good 
plays represented. There can be no worth- 
ier wish. Some of the powerful seed from 
the European art-theatres seems to have 
wafted itself over, found a receptive place, 
and bloomed interestingly on American 
soil. So we have the phenomenon of the 
commercial theatre's patronage being 
sharply attracted to small theatres of 
amateur classification where one may see, 
at times, the sort of play that one really 
likes to see. Sometimes the plays are care- 
lessly staged, thoughtlessly mutilated, im- 
properly acted. Now and then one sees 
scenic accompaniments that howl to high 
heaven. Not infrequently the general level 
of the acting is mediocre. But, then, you 
sometimes see all these faults in the "regu- 
lar" theatres. The favorable point is this: 
that the little theatres for all their loud 
exclaimings about "advancing art," for all 
their personal and communal drum-thump- 
ing, for all their crudeness and newness 
are materially helping the American stage 
to progress to better things. The phrase, 
'better things' is vague, isn't it, but possibly 
you have an idea what I mean. 

EVEN if your local little theatre, or 
people's playhouse, or community thea- 
tre, or neighborhood players, or whatever 
you call it, produces ten plays a season, 
and out of that ten you manage to squeeze 
one perfect presentation (or one almost 
perfect), then you have every reason to feel 
amiable. There were moments when the 
old-fashioned amateur dramatic club proved 
itself an exasperating nuisance, a burden 
to patience, a source of feverish irritation 
to anyone with taste and intelligence. By 
reason of its higher ideals, the little theatre 
movement is of sterner stuff, and places 
itself on a higher plane. Its workers may 
be drawn from the amateur ranks (some 
of them are very rank) ; but it is intelli- 
gently and alertly trying to do something 
which the former amateur club never tried 



to do, never thought of trying to do. It is 
endeavoring manfully and, of course, 
womanfully to learn dramatic expression 
and interpretation. (The earlier clubs were 
content just to "act"). It is striving to 
learn these things, to understand them 
honestly, and to apply them practically. It 
is of this stuff that genuine communal art 
is made. 

I had better finish this personal insolence 
by broadcasting a piece of advice, which no- 
body will have the remotest idea of notic- 
ing. My qualification is that I have been 
stage-director to several of these little 
theatres, and so know something of the 
business of non-business dramatic move- 
ments. If I have become caustic in the 
process, it's not altogether my fault. 

The advice is something after this fash- 
ion. That all this bother of educating peo- 
ple in the importance of the community 
theatre is wasted effort. You want to edu- 
cate the audiences. No, I don't mean what 
you mean. I don't say "elevate the public." 
Such balmy stuff is not for present con- 
sideration. I simply suggest that the aver- 
age person who goes to the average little 
theatre does so not because he wants to, but 
because it is the communal thing to do. It 
is locally the fashion. To miss seeing the 
neighboring presentment of "Back to Me- 
thuselah" is. to be out of the swim even 
if the witnessing of it puts you out of your 
depth. The bulk of community theatre 
audiences are composed of people who go 
to the theatre because it's community life, 
and the herd instincts are terribly strong. 

1 1 1 HIS is true in a small sense of the 
-" smaller cities ; it is equally true in a 
larger sense of New York, of Boston, of 
Chicago. For each single, genuine, burn- 
ing dramatic enthusiast who goes to see a 
decent play done by a little theatre, because 
it's a decent play, you have a round hun- 
dred who go because the next hundred go. 
The obvious remedy is that the little 
theatres, community movements and what- 
not, should put on farce-comedy, business 
plays and straight melodrama. They should 
provide Broadway food for provincial 
palates and rural fare for city palates. In 
a word, they should compete directly with 
the grown-up theatres. Then the great 
theatregoing public (they say it still exists) 
will promptly flock to the little theatres. 
Once get your public coming in paying 
numbers, and you can easily slip something 
real over on them. Accustom a man to 
seeing drivel week after week, and before 
you realize it you can force "Twelfth 
Night" down his throat. Theatregoing 
is a habit. Get Mr. and Mrs. Nonesuch 
into the way of coming to your house as 
regular customers, and it won't be long 
before you can give them what you like. 
Thus, the public can gradually be made 
receptive for bigger work. 



[76] 



Theatre Magafine. Auuuit. 




(Below) 
SIDNEY SHIELDS 

Erstwhile newspaper woman of New 
Orleans, who, as the harrassed heroine of 
"The Hindu" attracted favorable attention 
to herself, and will continue in that rfile and 
others with Walker Whiteside in the fall. 



Mori-all 



DOROTHY ELLIN 



Who has added to the notable 
list of college women making 
good on the stage by her fine 
performances as the "Passion 
Flower" in Benevente's fa- 
mous play of that name on the 
road. Miss Ellin is a graduate 
and fellow of Wellesley. 





Goldberg 

MARJORIE 
GATESON 
A gesture of distinc- 
tion and a grace of 
manner none too fre- 
quently found on 
musical comedy 
boards has been lent 
by this captivating 
Brooklyn girl to lead- 
ing parts in several 
recent o ff e r i n g s , 
among them "The 
Rose Girl," "The 
Love Letter," and 
"For Goodness Sake." 

REGINA 
WALLACE 

An excellent rea- 
son fon, "Your 
Woman and Mine" 
not being quite as 
bad as it might 
have been. 




MITZI 

Compatriot of Molnar 
and the famous Rhop- 
sody, who has closed a 
successful season in 
"Lady Billy," and will 
resume it along the 
Pacific Coast in October, 
following her return 
from a trip to her native 
Hungary. 



Moffatl 






Goldberg 



i 



Goldberg 



BEAUTY IN RECENT MUSICAL COMEDY 



[77] 



Behold, the Audience! 

The Garrick Houses a Brotherhood the George M. Cohan a Crowd 



AUDIENCES are amusing even when 
plays and concerts are dull. Plays 
and concerts have acquired the habit 
of dullness this winter. It is as if all the 
tricks were out of the hat and the conjurer 
had turned the stove-pipe upside down. Not 
another bunny! Not another egg! 

Yet the theatregoing habit persists, per- 
haps, because of the herd instinct which 
makes us enjoy sitting in a close and crowd- 
ed auditorium elbow to elbow with our 
fellow-sufferers. Or perhaps, because of 
our primitive delight in spectacles, en- 
gendered during the Greco-Roman period 
and now tapered off from a ferocious plea- 
sure in blood-spilling to an anaemic enjoy- 
ment of an actor's failure to act. It 
amounts to the same thing. 

We still go to the theatre although long 
since deprived of our illusions. The vicious 
circle has been established and it may take 
the wireless telephone a more denatured 
pleasure than the motion picture to break 
it. When it becomes possible to sit before 
the gas log in one's old slippers and "listen 
in" on "Ghosts," "La Tosca" or "Bombo," 
it may require a more potent derrick than 
an inherited mob impulse to lift us from 
our well-worn Morris chairs. 

In the meantime we go to the theatre, 
getting a vicarious satisfaction out of damn- 
ing every new play we. see. We have, in 
fifty years, passed from the pink legs of 
"The Black Crook," through the Augustin 
Daly period, the Empire period, the brief 
periods of realism, crook melodrama, Polly- 
ana, Marie-Odilliana, war, bedroom and 
Sem Benelli, to the present deadly period 
of panic, where we are invited to witness 
anything and everything, from "Marie 
Antoinette" to "Hairy Apes." 

The hat is empty ! 

BUT audiences are as amusing as ever, 
and, strangely enough, as individual. 
There is a positively personal flavor about 
a Carnegie Hall gathering, for instance, as 
different as possible from the essence of a 
Hippodrome crowd. An expert can detect 
the difference as a parfumeur knows with 
one whiff whether a passing beauty is wear- 
ing the Rose of Coty or of Guerlain. 

Your audience is. not a gathering of peo- 
ple, it is an entity. There may be a psy- 
chic thread, some current highly charged, 
that binds you all together once you are 
seated. You enter the theatre, an indi- 
vidual. You divest yourself of your hat 
and coat, rattle the program, glance around 
and are the audience. Behind the curtain 
your victims are making up, or waiting in 
the green-room for the signal that sends 
them out to bare their naked souls to your 
gibes, your indifference, your applause. 
From behind the footlights you are a blur 
of faces and shirt-fronts, no more. Yet 
you have the power to make or to break 
reputations, and, taken from before the 
footlights, you are worth studying. 



By MILDRED CRAM 

It is a well-known fact that a mild 
hypnosis can be induced in a relaxed per- 
son who gazes fixedly at a point of light. 
Theatre audiences sit in dark halls, staring 
at a brilliantly illuminated square. Thus 
hypnotized, they are open to suggestion. 
They can be swayed by emotion a hundred 
times more easily than, for instance, an 
audience sitting in a well-lighted concert 
auditorium watching an orchestra or a 
pianist. 

THE first virtuoso who stoops to the 
simple expedient of darkening the hall 
and playing in a pool of dazzling light will 
profit to the extent of an artificially stimu- 
lated emotionality. He will find himself 
performing feats of hypnotism and sugges- 
tion. A veritable artist, of course, hesitates 
to throw star-dust in the eyes of the criti- 
cal, depending upon the uncompromising 
beauty of the music he plays to produce a 
mood. But sometimes the mood is long in 
coming. 

It is not easy to summon magic in the 
face of a thousand distractions. Late ar- 
rivals troop down the aisle after the first 
movement of a symphony there is a flutter 
of ushers; rows of uncomfortable and irri- 
tated people stand up and slump down 
again ; one is conscious of a long-necked 
man or a red-haired woman or a funny old 
lady in a bonnet and in the meantime 
the magician waits on the stage, at the 
mercy of a storm of conversation. The 
second movement is as lost as the initial 
five minutes of a play, usually given over 
to a French maid or to the scenery. 

The concert audience^ is subjected to an- 
other annoyance, unique and devastating. 
Because of the well-lighted auditorium, 
reading is possible and many an uncompre- 
hending, bored concertgoer forgets the 
Fifth Symphony in a strenuous perusal of 
the program. This requires much rustling 
and crackling, particularly during a pian- 
issimo passage. 

EACH type of audience has a technique of 
its own. The movie audience is a more 
transient, impermanent gathering, lacking 
in unity. A film's most critical audience is 
its first in the laboratory projection-room. 
Later, it is the focus of a very shift- 
ing attention. The movie audience is for- 
ever dissolving, gathering, dissolving again, 
like an ant's nest. Whole rows of people 
walk out in the middle of an emotional 
crisis, as indifferent as Vestal virgins at 
the gladiatorial shows of ancient Rome. 
Ushers with flashlights bob in every aisle. 
It is all very casual and informal. In the 
more elaborate Broadway theatres, the be- 
tween-the-show crowds are roped off an 
ignominious penning that lasts sometimes 
for more than an hour. While the house 
"out front" roars with laughter or crackles 
with applause, these patient standees wait 
their turn, packed breast to breast like 



indecent sardines . . . Ants. Vestals. 
Sardines. A strange potage of mixed meta- 
phors! Whatever it is, the movie audience 
is democratic, easily amused, not to be 
taken seriously as a critical entity. 

In the legitimate playhouses you find 
audiences with personality. The Empire 
houses a congregation, the Hippodrome a 
round-up, the Provincetown a meeting, 
the Metropolitan a levee, the Garrick a 
brotherhood, the Belasco a convention and 
the Cohan a crowd. 

There are theatres where evening dress 
seems to be a tacit metropolitan conspiracy, 
and theatres where the "peepul" foregather 
in the careless brotherhood of the hand-me- 
down. Strangely enough, the price of seats 
has nothing to do with it. One theatre 
is the pit, the other the stalls. It may be 
that a subtle social flavor is mixed with 
the mortar in the walls, and that elegance 
is as rare and as elusive as the acoustic 
property. It is a known fact that certain 
theatres are "hoodooed," doomed to failure 
year after year, while others shelter a long 
series of hits, so that one can sniff the very 
atmosphere of success for the price of an 
orchestra chair. The playgoer is infected 
\vhen he surrenders his ticket at the door ; 
expecting success so confidently, he usually 
finds it. It is rather like influenza, only 
far more profitable. And woe betide the 
producer who risks his wares in the notori- 
ously unlucky warehouse. 

NEW YORK audiences are more pictur- 
esque than they used to be. There is 
not yet the universal incandescent glow of 
starched shirt-bosoms which distinguishes 
the London audience, but there is a de- 
cided tendency in that direction. 

The theatre is, after all, a place where 
one goes to seek illusion, to forget for a 
while the dull tom-tom of life, to blink 
in a scattering of star-dust, to sniff the un- 
familiar and romantic paper garden. That 
the modern audience knows that it is paper 
is one of the bitter fruits of knowledge. 
Yet why not make it a festive quest and go 
bedecked ? 

The European is aware of the pictur- 
esque possibilities of the theatre-hour. 
What if the play is poor and the actors 
feeble he, at least, is worth watching ! He 
promenades during the entr acte, staring 
at the costumes of the women; he sweeps 
the boxes with his opera-glass ; he bows, 
smiles, converses, displays his ego with 
gusto. How much better than the New 
York T. B. M. snatching a hurried smoke 
while his wife stifles her yawns behind her 
program ! 

The European frankly and voluptuously 
enjoys the atmosphere of velvet, cut-glass, 
scent, dust, papier-mache, diamonds, black 
cloth, brilliantine and mother-of-pearl 
which seems caught and everlastingly pre- 
served within a theatre. He goes, expect- 
(Continued on page 122) 



[78] 



Theatrt Magatine, Agtt, Iff! 




Study by Goldberg 



FLORENCE REED 

As seen in Bayard Veiller's new play, "The Divine Crook." The big situation has to do with a 
Madonna picture on the wall, which Miss Reed (the crook, and a homely woman), is made 

to resemble, by plastic surgery. 

[79] 



"The Hairy Ape" 

A Comedy of Ancient and Modern Life in Eight Scenes, 
By Eugene O'Neill 

17 V GENE O'Neill today ranks among America's foremost and most promising dramatists. For years known 
*-' only as the son of James O'Neill, the veteran actor, he first attracted attention as the author of a number of 
one-act plays acted for the professional and semi-professional stage. But -when he suddenly shot into the lime- 
light with "Beyond the Horizon," his unusual and great gift was at once recognized. Later pieces, "The Emperor 
Jones" and "The Hairy Ape" have confirmed this judgment. O'Neill depicts with great power the gnmest of 
characters and the most sordid of scenes, and consistently refuses to idealize his themes which are of a sombre, 
almost morbid character. The following excerpti are printed here by courtesy of Mr. Arthur Hopkins 






THE play opens on the dimly-lighted fore- 
castle of a transatlantic liner an hour 
after sailing from New York. The room 
is crowded with the men whose business it is to 
feed the furnaces that create the power to drive 
the ship across the seas. All are hairy chested, 
with long arms of tremendous power and low, 
receding brows above their small fierce, resent- 
ful eyes. They are all shouting, cursing, laugh- 
ing, singing, a confused, inchoate uproar swell- 
ing into a sort of unity, a meaning the be- 
wildered, furious, baffled defiance of a beast in 
a cage. The men, nearly all of whom are drunk, 
seem oddly alike, except for Yank, a powerful 
figure in the foreground, a little broader, fiercer, 
more sure of himself than the others. The din 
continues. A voice starts bawling a song. 
Paddy, an old wizened Irishman on a bench 
in the foreground is reminiscing, half to 
himself, half to his companions, of the peace 
of the old sailing days and the hell of the stoke- 
hold. Yank springs to his feet. 

YANK: Hell in the stokehold! It's 
work in hell? Hell, sure, dat's nfy 
favorite climate! I eat it up! It's 
me makes it roar. It's me makes 
ft move! Sure, on'y for me every- 
thing stops. It all goes dead, get 
me? De noise and smoke and all 
de engines movin' de woild, dey 
stop. Dere ain't nothin' no more! 
Dat's what I'm sayin ! Everyting 
else dat makes de woild move, 
somep'n makes it move. It can't 
move without somep'n else, see? 
Den yuh get down to, me. I'm at 
the bottom, get me? Dere ain't 
nothin' foither. I'm de end ! I'm 
the start! I start somep'n and de 
woild moves. It dats me! De 
new dat's moiderin de old. I'm 
de ting in coal dat makes it boin ; 
I'm steam and oil for de engines; 
I'm de ting in noise dat makes you 
hear it; I'm smoke and express 
trains and steamers and factory 
whistles; I'm de ting in gold dat 
makes it money! And I'm what 
makes iron into steel! Steel, dat stands for de 
whole ting! And I'm steel steel steel ! I'm 
de muscle in steel, de punch behind it! (As he 
says this he pounds with his fist against the 
steel bunk. All the men, roused to a pitch of 
frenzied self-glorification by his speech, do like- 
wise. There is a deafening metallic roar 
through which Yank's voice can be heard bel- 
lowing.) Slaves, hell! We run de whole woiks. 
we're it, get me! All de rich guys dat link 
dey're somep'n, dey ain't nothin'! Dey don't 



Copyright, 1922, by Eugene O'Neill 

belong. But us guys, we're in de move; we're 
at de bottom, de whole ting is us, see? We 
belong. (Paddy from the start of Yank's speech 
has been taking one gulp after another from his 
bottle, at first frightenedly as if he were afraid 
to listen, then desperately as if to drown his 
senses, but finally has achieved complete indif- 
ference, even amused drunkenness. Yank sees 
his lips moving. He quells the uproar with 
a shout.) Hey, youse guys, take it easy! Wait 
a moment! De nutty Harp is saying semp'n. 
PADDY: (Throws his head back with a mock- 
ing burst of laughter.) He-he-he-he-he! 
YANK: (Drawing back his fist, with a snarl.) 
Aw ! look out who yuh're givin' the bark ! 
PADDY: (Begins to sing the "Miller of Dee" 
wii/i enormous good nature.) 

"I care for nobody, no, not I. 
And nobody cares for me." 

YANK: (Good-natured himself in a flash, in- 




Abbe 



Mildred (Carlotta Monterey) Yank (Louis Wolhe 

IN THE STOKE HOLE 
MILDRED: "Take me away oh, the filthy beast' 

terrupts Paddy with a slap on the bare back like 
a report.) Dat's de stuff! Now you're gettin' 
wise to somep'n. Care for nobody, dat's de 
dope ! To hell with 'em all ! And nix on no- 
body else carin' I kin care for myself get me! 
(Eight bells sound, muffled, vibrating through 
the steel walls as if some enormous brazen gong 
were imbedded in the heart of the ship. All 
the men jump up alertly, file through the door 
in rear close upon each others heels in what is 
very like a prisoner's lockstep.) 



In Scene II, the steamer is two days out at 
sea. The stage shows a section of the promen- 
ade deck. Two passengers, Mildred Douglas, 
the languid, affected daughter of a millionaire 
steel king and her aunt, are discovered reclining 
in deck chairs. Mildred, anxious to "see how 
the other half lives" persuades the ships' engi- 
neer to take her down the stoke hole. A line of 
men stripped to the waist is before the furnace 
doors. They bend over, looking neither to right 
nor left, handling their shovels as if they were 
part of their bodies with a strange, awkwar.l. 
swinging rhythm. They use the shovel to throw 
open the furnace doors. From these fiery round 
holes in the black a flood of terrific light and 
heat pours full upon the men who are outlined 
in silhouette in the crouching, inhuman at- 
titudes of chained gorillas like some species 
of inferior demons whose business and punish- 
ment it is to keep the fires of hell at torment 
heat. 

PADDY: (From somewhere in the 
line plaintively.) Yerra. will this 
divil's own watch nivir end? Me 
back is broke. I'm destroyed en- 
tirely. 

YANK: (From the center of the 
line with exuberant scorn.) Aw, 
yuh make me sick! Lie down and 
croak, why don't yuh! Always 
beefin', dat's yuh. Say dis is a 
cinch! Dis was made for me! 
It's my meat, get me? (A boat- 
swain whistle is blown a thin 
shrill note from somewhere over- 
head in the darkness. Yank curses 
without resentment.) Dere's de 
damn engineer crackin' de whip. 
He links we're loafin! 
PADDY: (Vindictively.) God 
stiffen him! 

The whistle sounds again in a 
peremptory, irritating note. This 
drives Yank into a sudden fury. 
im) The other men have stopped, dumb- 

founded by the spectacle of Mil- 
dred standing there in her white 
dress. Yank does not turn far 
enough to see her. Besides, his head is thrown 
back, he blinks upward through the murk try- 
ing to find the owner of the whistle, he 
brandishes his shovel murderously over his 
head in one hand, pounding on his chest, gor- 
illa-like, with the other. 



YANK: (Shouting.) Toin off dat whistle! 
Come down outa dere, yuh yellow, brass-but- 
toned, Belfast bum, yuh! Come down and I'll 
knock yer brains out! Yuh lousey, stinkin' 



[80] 



Theatre Magasine. August, 










MARIE MASHIR 
Who is the possessor of a decoration 
from the late Czar, long an admirer 
of her soprano voice and beauty. 



SOPHIA OSIPOVA 
As Marpha in "The Tsar's 
Bride." This interesting 
soprano is a pupil of the noted 
composer Rimsky-Korsakoff. 



(Below) 

JACOB LUKIN 
Noted baritone who has added 
American laurels to those won 
abroad by an extraordinary in- 
terpretation of the title role 
in Rubinstein's opera "The 
Demon." 





VALENTINA VALENTIXOVA 
Whose youth and remark- 
ably fine contralto voice at- 
tracted great attention to 
her performance as the 
Princess in "The Mermaid." 



(Below) 

VLADIMIR RADEEF 
A baritone illustrious for 
protrayals of the aristoc- 
racy, as the Prince in 
"Snegurouchka." 




Daguerre 

NICHOLAS KARLASH 

Who sings the title r61e in "Boris Godounov" with a 

fidelity to the Russian interpretation equalled in this 

country only by Chalinpin. 

INTERESTING PERSONALITIES OF THE RUSSIAN GRAND OPERA COMPANY 
RECENTLY SEEN IN THIS COUNTRY AND SHORTLY TO APPEAR IN MEXICO. 

RUSSIAN SINGERS IN EXILE 



[81] 



yellow mut of a Catholic-moiderin' bastard! 
Come down and I'll moider yuh ! Pullin' dat 
whistle on me, huh? I'll show yuh! I'll crash 
yer skull in! I'll drive yer teet' down yer 
troat! I'll slam yer nose trou de back of yer 
head ! I'll cut yer guts out for a nickel, yuh 
lousey boob, yuh dirty, crummy, muckeatin' son 
of a 

Suddenly he becomes conscious of the other 
men staring at something behind his back. He 
whirls defensively with a snarling, murderous 
growl, crouching to spring, his lips drawn back 
over his teeth, his small eyes gleaming fero- 
ciously. He sees the girl, like a white apparition 
in the full light from the open furnace doors. 
He glares into her eyes, turned to stone. As 
for her, during his speech she has listened 
paralyzed with horror, terror, her whole per- 
sonality crushed, beaten in, collapsed by the 
terrific impact of this unknown, abysmal brutal- 
ity, naked and shameless. As she looks at his 
gorilla face, as his eyes bore into hers, she 
utters a low choking cry and shrinks away from 
him, putting both hands up before her eyes to 
shut out the sight of his face, to protect her own. 
This startles Yank to a reaction. His mouth 
falls open, his eyes grow bewildered. 

MILDRED: (About to faint to the Engineers 
who now have her one 
by each arm whimper- 
ingly.) Take me away! 
This is beyond poses! 
Oh, the filthy beast! 
(She faints. They carry 
her quickly back, disap- 
pearing in the darkness 
at the left, rear.) 

I* 

An iron door clangs 
shut. Rage and bewild- 
ered fury rush on Yank. 
He feels himself insult- 
ed in some unknown 
fashion in the very 
heart of his pride. He 
roars. God damn yuh ! 
And hurls his shovel 
after them at the door 
which has just closed. 
It hits the steel bulk- 
head with a clang and 
falls clattering on the 
steel floor. 



Abbe 



. The scene shifts to 

the fireman's forecastle again. 

has just come off duty. Yank is seated on 

bench in the foreground in the exact attitude of 

Rodin's "Thinker." Gradually, the stokers drive 

into his mind the idea that the girl's conduct 

in the stokehole was a studied and personal 

insult that she had looked at him as she would 

have looked at a hairy ape in the zoo. 



' 

belly-full, I'm telling you. She'll be in bed now, 
I'm thinking, wid ten doctors and nurses feedin' 
her salts to clean the fear out of her. 
YANK: (Enraged.) Yuh link I made her sick, 
too, do yuh? Just lookin' at me, huh? Hairy 
ape, huh? (In a frenzy of rage.) I'll fix her! 
I'll tell her where to git off! She'll get down 
on her knees and take it back or I'll bust de 
face off en her! (Shaking one fist upward and 
beating at his chest with the other.) I'll find 
yuh! I'm comin', d'yuh hear? I'll fix yuh, God 
damn yuh! (He makes a rush for the door.) 
VOICES: Stop him. 

He'll get shot! 
He'll murder her! 
Trip him up! 
Hold him! 
He's gone crazy! 
Gott, he's strong! 
Hold him down! 
Look out for a kick! 
Pin his arms! (Etc. They have all 
piled on him and after a fierce struggle by 
sheer weight of numbers have born him to the 
floor just inside the door.) 
PADDY: (Who has remained detached.) Kape 
him down till he's cooled off. (Scornfully.) 
Yerra, Yank, you're a great fool. Is it payin' 
attention at all you are to the line of that 
skinny sow widout one drop of rale blood in her? 
YANK: (Frenziedly from 
the bottom of the heap.) 
She done me doit! She 
done me doit, didn't she? 
I'll git square wit her! 
I'll git her someway! 
Git offen me, you'se 
guys. Lemme up! I'll 
show her who's a ape! 

Frustrated in his im- 
mediate attempts to get 
at the girl to be re- 
venged he searches for 
others like her. With 
Long, a fellow stoker, 
he goes up Fifth Ave- 
nue on a Sunday and 
meets churchgoers of 
her class. 

LONG: (Excitedly.) 
Church is out. 'here 
dey come, the bleedin' 
swine. 
"Yank" Smith (Louis Wolheim) encounters the Fifth Avenue Sunday Parade 

The crowd from the 

church enter from the right, sauntering slowly 
and affectedly, their heads held stiffly up, look- 
ing neither to right nor to left talking. 



And dere she was wit de light on her! Christ, 
yuh could a pushed me over wit a finger! I 
was scared, get me? Sure! I tought she was a 
ghost, see? She was all in white like dey wrap 
around stiffs. You seen her. Kin yuh blame 
me? She didn't belong, dat's what. And den 
when I come to and seen it was a real skoit 
and seen de way she was lookin' at me like 
Paddy said Christ I was sore, get me? I don't 
stand for dat stuff from nobody. And I flung 
de shovel on'y she'd beat it. (Furiously.) I 
wished I'd banged her! I wished it'd knock 
her block off. ... I'll fix her! Maybe she'll 
come down again 

VOICE: No chance Yank. You scared her out 
of a year's growth. 

YANK: I scared her? Why de hell should I 
scare her? Who de hell is she? Ain't she 
same as me? Hairy ape, huh? (With his old 
confident bravado.) I'll show her I'm bettern' 
her if she on'y knew it. I belong and she don't, 
see? I move and she's dead. Twenty-five 
knots a hour, dat's me! Dat carries her out, 
but I make dat. She's on'y baggage. Sure! 
(Again bewilderedly.) But, Christ, she was 
funny lookin'. Did yuh pipe her hands? White 
and skinny? Yuh could see de bones trough 
dem. And her mush, dat was dead white, too. 
And her eyes, dey was like dey'd seen a ghost. 
Me, dat was! Sure, Hairy Ape! Ghost, huh! 




YANK 

Sure! 
right, 
tart! 



(Grinning horribly.) Hairy ape, huh? 
Dat's de way she looked at me, aw 
Hairy ape! So dat's it. Yuh skinny 
Yuh white-faced bum, yuh! I'll show 
yuh who's a ape. (Turning to the others, be- 
wilderment seizing him again.) Say, you'se 
guys. I was bawlin' him out for pullin' de 
whistle on me. You heard me. An' den I seen 
you'se lookin' at somep'n and I tought he'd 
sneaked down to come up in back of me, and I 
hopped round to knock him dead with de shovel. 



Yank's watch Look at dat arm! (He extends his right arm 
swelling out the great muscles.) I coulda took 
her wit dat, wit just my little finger even, and 
broke her in two. (Again bewilderedly.) Say, 
who is dat skoit, huh? What is she? What 
she come from? Who made her? Who gave 
her de noive to look at me like dat? Dat ting's 
got my goat right. I don't get her. She's new 
to me. What does a skoit like her mean, huh? 
She don't belong, get me? I can't see her. 
(With groining anger.) But one ting I'm wise 
to, aw right, aw right! You'se all kin bet 
your shoits I'll get even wit her I'll show her 
if she links she she grinds de organ and I'm 
on de string, huh? I'll fix her! Let her come 
down again and I'll fling her in de furnace! 
She'll move den! She won't shiver at nothin' 
den! Speed, dat'll be her! She'll belong den! 
(He grins horribly.) 
PADDY: She'll never come. She's had her 



YANK: (Approaching a lady with a vicious 
grin and a smirking wink.) Hello, Kiddo, 
How's every little ting? Got anything on for 
tonight? /I know an old boiler down to de 
docks we kin crawl into. | (The lady stalks by 
without a look, without ^ a change of pace. 
Yank turns to others insultingly.) Holy 
smokes, what a mug! Go hide yuhself before 
de horses shy at yuh. Gee, pipe de heir.ie on 
dat one! Say, you'se, yuh look like de stoin of 
a ferry-boat. Paint and powder! All dolled 
up to kill ! Yuh looks like stiffs laid out for de 
boneyard ! Aw, g'wan, de lot of you'se. Yuh 
give me de eye-ache. Yuh don't belong, get 
me! Look at me, why don't you'se dare? I 
belong, dat's me! (Pointing to a skyscraper 



SCENE IN "KEMPY" AT THE BELMONT 
THEATRE 

The despised "Kempy" (Elliott Nugent) tells 
"Dad" (J. C. Nugent) where he gets off in 
trying to order him out of the house. "Duke" 
(Grant Mitchell) and Kate (Lotus Robb) 
seek to mollify the old gentleman. 



Theatre Mogaritu, Augutt. tyu 




RUTH NUGENT 
The youngest of the family 



of 



"Kempy" creators at the Belmont, 

who acts delightfully the romantic 

and impressionable young daughter 

of the Bence's. 





White 



(Left to right) Gordon Ash, Eileen Huban, Louie Emery, Whitford Kane, Herbert Lomas, Alice Belmore Cliffe. 
Act III: Fanny (Eileen Huban). "I won't marry him to make myself 'an honest woman.' I can take care 

of myself." 

SCENE IN "FANNY HAWTHORNE" AT THE VANDERBILT THEATRE 

PLAYS IN SERIOUS AND LIGHTER VEIN 



[83] 



across the street which is in process of con- 
itruction with bravado.) See dat building 
goin' up dere? See de steel work? Steel, dat's 
me! You'se guys live on it and link yuh're 
oroep'n. But I'm in it, see ! I'm de hoistin' 
engine dat makes it go up! I'm it de inside 
and bottom of it! Sure! I'm steel and steam 
and smoke and de rest of it! It moves speed 
twenty-five stories up and me at de top and 
bottom movin' ! You'se simpe don't move. 
Yuh're on'y dolls. I winds up to see 'em spin. 
Yuh're de garbage, get me de leavin' de 
ashes we dump over de side. Now, what a 
yu'n gotta say? (But as they seem neither to 
lee nor hear him, he flies into fury.) Bums, 
Pigs! Tarts! Bitches. (He turns in a rage an 
the men, bumping viciously into them, but not 
jarring them the least bit. Rather it is he 
who recoils from each collision. He keeps 
growling.) Git off de oith ! G'wan, yuh bum. 
Look where yuh're goin', can't yuh ? Git outa 
here! Fight, why don't yuh! Put up your 
raits! Don't be a dog! Fight or I'll knock yuh 
dead! (But, without seeming to see him, they 
all answer with mechanical affected politeness: 
"I beg your pardon." Then at a cry from one 
of the women they all scurry to the furriers 
window.) 

THE WOMAN: (Ecstatically, with a gasp of de- 
light.) Monkey fur! (The whole crowd of 
men and women chorus after her in 
the same tone of affected delight.) Monkey fur! 
YANK: (With a jerk of his head back in his 
shoulders as if he had received a punch full 
in the face raging.) I see yuh, all in white! 
I see yuh, yuh white-faced tart, yuh! Hairy 
ape, huh? I'll Hairy ape yuh! 

He bends down and grips at the street curb- 
ing as if to pluck it out and hurl it. Foiled in 
this, snarling with passion, he leaps to the lamp- 
post on the corner and tries to pull it out for a 
club. Just at that moment a bus is heard 
rumbling up. A fat, high-hatted, spatted gentle- 
man runs out from the side street. He calls out 
plaintively: "Bus, Bus! Stop there!" and runs 
full tilt into the bending, straining Yank, who 
is bowled off his balance. 

YANK: (Seeing a fight with a roar of joy 
as he springs to his feet.) At last! Bus, huh? 
I'll bust yuh? (He lets drive a terrific swing, 
his fist meeting the fat gentleman's face with a 
resounding thud. But the gentleman stands un- 
moved as if nothing had happened.) 
GENTLEMAN: I beg your pardon. (Then ir- 
ritably.) You have made me lose my bus. 
(He claps his hands and begins to scream.) 
Officer! Officer! 



Many police whistles shrill 
out on the instant and a 
whole platoon of policemen 
rush in on Yank from all 
sides. He tries to fight but 
is clubbed to the pavement 
and fallen upon. The crowd 
at the window have not 
moved or noticed this dis- 
turbance. The clanging gong 
of the patrol wagon ap- 
proaches with a deafening 
din. 

In the next scene Yank is 
in a cell on Blackwell's 



Island, seated on the edge of his cot in the atti- 
tude of Rodin's "Thinker." His face is spotted 
with black and blue bruises. A blood-stained 
bandage is wrapped around his head. 

YANK: (Suddenly starting as if awakening 
from a dream, reaches out and shakes the bars 
aloud to himself, wonderingly.) Steel. Dis 
is de Zoo, huh? (A burst of hard, barking 
laughter back down the tier of cells, and 
abruptly ceases.) 

VOICES: (Mockingly.) The Zoo? That's a 
new name for this coop. A damn good name 
.... Say, you guy! Who are you? What did 
they jug you for or ain't yuh tellin'? 
YANK: Sure I'd tell you'se. Sure! Why de 
hell not? On'y you'se won't get me. Nobody 
gets me but me, see? I started to tell de Judge 
and all he says was "Toity days to link it over." 
Tink it over! Christ! Dat's all I been doin' 
for weeks! (After a pause.) I was tryin' to 
git even wit someone, see? A someone dat 
done me doit 

Yank relates his tragedy in the stokehole. A 
prisoner tells him that if he wants revenge on 
this girl he should join the "Wobblies" and 
from a local newspaper reads to him a speech 
made in the U. S. Senate denouncing the I. W. 
W. as a gang of cut-throats and dynamiters. 
Then comes to Yank the sudden thought that 
the girl's father, the steel king, has made the 
very cage he occupies. In a white fury he tears 
at the bars of his cell and begins to bend them 
apart, as the guard rushes to him with hose 
and straight jacket. 

The next scene, a month later, finds Yank at 
the I. W. W. headquarters. With suspicious 
naviete he offers to blow up the steel works in 
Nazareth. He is at once suspected of being a 
government agent and thrown into the street. 
With a growl he starts to get up and storm 
the closed door, but stops, bewildered by the 
confusion in his brain, pathetically impotent. He 
sits there, brooding, again suggesting Rodin's 
"Thinker." 

YANK: (Bitterly.) So dem boids don't link I 
belong, neider. Aw, to hell wit 'em! Dey're 
in de wrong pew de same old bull soapboxes 
and Salvation Army no guts. Cut out an 
hour offen de job a day and make me happy! 
Gimme a buck more a day and make me happy! 
Tree square, a day, and cauliflowers in de front 
yard ekwa rights a woman and kids a lousy 
vote and I'm all fixed for Jesus, huh? Aw 
hell! What does dat get yuh? Did ting's in 
your inside, but it ain't your belly. Feedin' 
your face sinkers and coffee dat don't touch 



THE NEXT PLAY 

To Be Given In This Series Will Be 

"THE TRUTH ABOUT BLAYDS" 

Comedy in 3 Acts by A. A. Milne, 

Author of "Mr. Pirn Passes By", "The Dover Road", Etc. 
which is now running at the Booth Theatre, New York, with great success. 



it. It's way down at de bottom. Yuh can't 
grab it, and yuh can't stop it. It moves, and 
ever'ting moves. It stops and de whole woild 
stops. Dat's me now I don't tick, see? I'm a 
busted Ingersoll, dat's what. Steel was me, 
and I owned de woild. Now I ain't steel, and 
de woild owns me. Aw, hell ! I can't see 
it's all dark, get me? It's all wrong. (He turns 
a bitter mocking face up like an ape gibbering 
at the moon.) Say, you'se up dere, Man in de 
Moon, yuh look so wise, gimme de answer, huh? 
Slip me de inside dope, de information right 
from de stable where do I get off at, huh? 
POLICEMAN: (Who has come up the street in 
time to hear this last with grim humor.) You'll 
get off at the station, you boob, if you don't get 
up out of that and keep movin'! 
YANK: (Looking up at him with a hard bit- 
ter laugh.) Sure! Lock me up! Put me in a 
cage ! Dat's de on'y answer yuh know. G'wan, 
lock me up. 

POLICEMAN: What you been doin'? 
YANK: Enough to gimme life for! I was 
born, see? Sure, dat's de charge. Write it in 
de blotter. I was born, get me! 
POLICEMAN: (Jocosely.) God pity your old 
woman! (Then matter-of-fact.) But I've no 
time for kidding. You're soused. I'd run you 
in but it's too long a walk to the station. Come 
on now, get up, or I'll fan your ears with this 
club. Beat it now ! (He hauls Yank to his 
feet.) 

YANK: (In a vague mocking tone.) Say, where 
do I go from here? 

POLICEMAN: (Giving him a push, with a grin, 
indifferently.) Go to hell! 

The next day finds Yank before the Gorilla's 
cage in the Zoo. The gigantic Gorilla himself 
is seen squatting on his haunches on a bench 
in much the same attitude as Rodin's "Thinker." 
Yank walks up to the cage and, leaning over 
the railing, stares at it's occupant who stares 
back at him, silent and motionless. There is a 
pause of dead stillness. Then Yank begins to 
talk in a friendly, confidential tone, half-mock- 
ingly, but with a deep under-current of sym- 
pathy. 

YANK: Say, yuh're some hard-lookin' guy, ain't 
yuh?" I seen lots of tough nuts dat de gang 
called gorillas, but yuh're de foist real one I 
ever seen. Some chest yuh got, and shoulders 
and dem arms and mils. I bet yuh got a punch 
in eider fist dat'd knock 'em all silly! (This 
with genuine admiration. The gorilla, as if 
understood, stands upright swelling out his chest 
and pounding on it with his fist. Yank grins 
sympatheticaly.) Sure, I get yuh. Yuh chal- 
lenge de whole woild, huh? Yuh got what I 
was sayin' even if yuh muf- 
fed de woids. ( Then bitter- 
ness creeping in.) And why 
wouldn't yuh get me? Ain't 
we both members of de same 
club de Hairy Apes? (They 
stare at each other a pause 
then Yank goes on slowly 
and bitterly.) So yuh're 
what she seen when she 
looked at me, de white-faced 
tart! I was you to her, get 
me? On'y outa de cage 
broke out free to moider 
her, see? Sure! Dat's what 
(Continued on page 122) 



[84] 



Tkeatrf Magazine, Augutt, lot? 




/CLEVELAND has taken a sudden 
^ leap in the matter of theatre- 
building. Known for years as a 
"good theatrical town," attractions 
were housed in inferior structures, 
which served a good purpose in 
their day; but which were not at all 
commensurate with the quality of 
productions offered, nor with the 
patronage accorded them. Various 
interested capitalists decided to 
move the theatrical centre of Cleve- 
land to construct a new Rialto, plac- 
ing in it, as a nucleus, as fine theatres 
as exist in America. The first to be 
opened was the Ohio, which boasts 
one of the largest and most beauti- 
fully furnished lobbies in the world. 
The second the Hanna, named for 
the late Senator M. A. Hanna and 
built by his son, Dan R. Hanna, has 
a seating capacity of 1,400 and lux- 
urious elegance is its predominating 
note. The B. F. Keith interests are 
erecting a theatre in thisgroup which 
will be the most beautiful theatre 
in the world, devoted to popular 
amusement. 




"Tlie Spirit of Pageantry," 

one of the large paintings 

in the foyer of Loew's State 

Theatre. Cleveland 



B. F. Keith's new 
Cleveland Theatre 
now In course of 
construction, cost- 
ing something like 
$5,000,000 



Staircase leading to 

balcony in the new 

Ohio Theatre 



Grand Foyer of 

Loew's State 

Theatre 



CLEVELAND'S 



SPLENDID 

[85] 



NEW THEATRES 




THERE is one good thing to be said 
for the late theatrical season, bad as 
it was unprecedently bad, some 
people say. The good thing is that it has 
come to an end. 



""THE recent closing of a musical play in 
which the principal characters were all 
sustained by men who have repeatedly 
headed their own companies, brings up 
again the much-discussed question as to 
how much "names" have to do with the 
success of a theatrical production. One 
would think that such well-tried and well- 
liked comedians as DeWolf Hopper, Lew 
Dockstader, Jefferson DeAngelis, William 
Courtleigh, William B. Mack and others 
of that calibre could make anything go. 
But, although the piece in which this group 
of "stars" appeared and worked most dili- 
gently was admittedly clever and entertain- 
ing in itself, it lasted only a few weeks. 
Then, when the audiences were too meagre 
to keep it going, even though the company 
were said to be playing on a "community" 
basis that is, taking each a pro rata share 
of what money came in, after deducting 
inevitable expenses it unostentatiously 
faded away. On the other hand, a musical^ 
offering in which the performers are all 
negroes, of whom Broadway had never 
heard before, ran for months in and near 
the sacred "white light" district, keeping 
it up into the warm weather because the 
colored actors' show was tuneful, amusing 
and original. 



QEORGE C. TYLER told me recently 
that he gets weary of producing new 
plays. Nevertheless, he has given us "To 
the Ladies" since that, and now he is at it 
again, with "West of Pittsburgh." There 
is a Tumor that he may give us one called 
"Dear Old Chillicothe!" but it is not veri- 
fied. 



r, 



JT is reported that considerable coolness 
has arisen between Mr. Ziegfeld and 
George White on account of the latter's 
production of revues which he calls "Scan- 
dals" and which Mr. Ziegfeld seems to 
feel are treading too closely upon the pre- 
serves of his "Follies." The White "Scan- 
dals" have usually been summer attractions, 
but it is now said that Mr. White is plan- 
ning a new "Scandals" show for next 
winter. While "Scandals" was playing on 
the Pacific Coast, Mr. Ziegfeld is reported 
to have wired Mr. White offering him 
and Ann Pennington $2,500 to appear in 



the new Ziegfeld "Follies." White is said 
to have replied with a counter telegram 
that read : "Will give you and Billie 
Burke $1,800 in 'Scandals.' " The rest is 
silence a cold, clammy silence. / 



since the newspapers contained 
allegations that the now-popular movie 
star, Rodolph Valentino, was a "bus-boy" 
in New York restaurants before becoming 
a dancer in the cabarets, men and women 
associated with "the show business" have 
been amused at repeated requests from 
various Italian, Spanish and Greek youths 
who have not yet advanced to serving re- 
freshments, merely setting the places and 
removing the dishes, these fellows desiring 
to emulate the example of the aforesaid 
Valentino! "Let me dance!" they plead. 
"Let me act! Give me a chance! You 
will see! I can do it! See my hair, how nice 
and smooth! See my manners, how polite 
and foreign!" A sadder sidelight on this 
craze shows that several "bus-boys" have 
actually resigned their steady jobs, and 
taken to haunting the movie studios and 
theatre offices. 



illustrates the loyalty of 
stage folk more clearly than the case 
of "Go Easy, Mabel," the musical comedy 
which closed during the month of May at 
the Longacre Theatre after staying there 
only two weeks. During the two weeks 
it lasted on Broadway no salaries were 
paid, but the members of the cast gallantly 
continued to support Ethel Levey, the star, 
who had bought in the production herself. 
They admired Miss Levey's gameness and 
hoped that the play would justify her faith 
in it, but Mabel's existence proved brief 
indeed. This attraction, by the way, was 
intended to bring back Ethel Levey to the 
field of American musical comedy and, in- 
cidentally, Estelle Winwood was featured 
for the first time in a musical show on this 
side of the water. But the unanimous 
verdict of the audiences seemed to be 
"Ain't it awful, Mabel?" 



QEORGE M. COHAN is making his 
presence felt in theatrical Broadway. 
Three plays are promised by him, includ- 
ing one of his own writing, "The Beautif,ul 
Moon." This, in addition to the actiftg 
he has been doing for months in "Made- 
leine." He ventures to walk through Times 
Square once in a while, but he generally 



takes the precaution to seem so deep in 
thought that only a score or so of the 
hundreds who would like to hail him with, 
" 'Lo, George!" or "Good afternoon, Mr. 
Cohan !" venture to break in on his medi- 
tations. The feeling is that it is good to 
see him on Broadway, whether one gets a 
chance to speak to him or not. Gossip says 
he has bought about twenty plays since the 
first of January. 



rumor along Broadway that P. G. 
Wodehouse is coming back into the fun 
of writing librettos for musical reviews, 
with his old associate, Bolton, doing the 
lyrics or is it the other way around? 
and Kern furnishing the score, gives de- 
cided satisfaction. They are a great trio 
when they get steam fairly up. 



J F there is any negro comedian who can 
satisfactorily fill the place of the late 
Bert Williams, nobody seems able to name 
him. But it is said the musical offering in 
which he was playing at the time of his 
death, "The Pink Slip," is to be revived 
forthwith. It will be curious to see who 
does the Bert Williams' part and how he 
does it. 



JT is well known that many present-day 
stars worked their way up from humble 
beginnings, some from the chorus of musi- 
cal comedies and some from second-rate 
burlesque shows. But what may come as 
a surprise to most people is the fact that 
the circus has also served as a stepping 
stone to higher things. Pearl White, now 
a high-priced star of the movies, frankly 
admits her apprenticeship as a trapeze per- 
former. But there is another actress, a 
star in stage productions of a legitimate 
nature, who does not boast unduly of her 
early employment under the "big tops," 
so I will tactfully refrain from mention- 
ing her name, merely indicating the case. 
Jefferson de Angelis gained agility through 
circus training, and so did the popular and 
prosperous Fred Stone, surviving member 
of the old team of Montgomery and Stone. 
Herbert Corthell, now a Broadway come- 
dian, was originally a circus clown. 



Q N the other hand, it was only after 
Douglas Fairbanks left the stage and 
entered the movies that he developed ability 
as a gymnast. It is true that he gave 
evidence of his latent powers in that direc- 



[86] 



Theatre Magasme, August, I<)1> 



BROADWAY FAVORITES 

BESTOW 

DIGNITY AND BEAUTY 

ON SHAKESPEAREAN 

HEROINES 





Helen MacKellar 
(Alice in "Henry V") 



Photos Underwood & Underwood 






Mae Murray 
( "Fascination" ) 



The Equity's Annual Show, held in New 
York on May 7th, proved the most success- 
ful performance ever given by this associa- 
tion of players. Between 800 and 1000 
well-known artists took part in the affair, 
the receipts guaranteed already exceeding 
$135,000. The unusually interesting pro- 
gram consisted of scenes from the various 
current plays made into a skit entitled 
"This is a Tough Season," in which were 
scenes from "He Who Gets Slapped," "The 
Czarina," "Back to Methuselah," etc. Then 
came scenes from Shakespeare, "Henry V," 
"Richard III," "Julius Caesar," etc. 






Jane Cowl 
("Smiling Through") 



Irene BordonI 
(Princen Katherine, "Henry V") 




Belle Story 
(Pageant "Equity Stars") 



EQUITY STARS SHINE IN THE ANNUAL SHOW 



[87] 



tion in one of his last appearances on the 
stage, in a piece called, "The Show Shop," 
in which he made a flying leap and landed 
on a policeman, a violent struggle ensuing. 
Before that he had been jointly featured 
with Tom Wise in "The Gentleman from 
Mississippi." Quite as picturesque as com- 
ing from a circus is coming from a ranch, 
and that was the experience of Will Rogers, 
who first faced an audience merely as a 
lariat-thrower but gradually developed into 
an all-round entertainer in Ziegfeld pro- 
ductions and in picture plays. 

report that Geraldine Farrar is to 
become a dramatic actress is good news. 
It is also good news that David Belasco 
will be her mentor. Mr. Belasco made 
an actress out of Leslie Carter, and when 
old playgoers recall what Mrs. Carter did 
in "The Ugly Duckling," and compare 
it with her work in "Zaza," or even in 
"The Circle," there is every reason to 
hope for the best when he has rehearsed 
Miss Farrar for a few weeks, or months, 
as the case may be. At least he will have 
an actress to begin with in this case, even 
if her experience has been almost entirely 
on the operatic stage. 



production, out of New York, of 
a play called, "The Gorilla," was a 
natural sequence of the success achieved by 
"The Hairy Ape." So far as Broadway 
knows, however, there is no resemblance in 
the two plays, aside from the suggestion 
of their names. But now that simian titles 
are in fashion, we may confidently look for 
still more of the monkey drama. 



'T'HE special enteratinments given for 
the guests of the Actor's Home on 
Staten Island are always joyous affairs. 
Not only do the artists who sing, dance 
or give dramatic readings for the stars of 
yesterday put their whole souls into the 
performance, but the old people themselves 
add zest by their enthusiasm. Recently, 
Frank T. O'Neil, baritone concert singer, 
of New Haven, Conn., made a special trip 
to the Island to entertain the old folks, 
and he declared that rarely had he sung, 
even in concerts and recitals, before such 
an appreciative audience. He sang oper- 
atic arias, English ballads, Indian love 
lyrics, and songs in Italian, German arid 
Russian, concluding with some old-time 
melodies, favorites with the old actors of 
yesterday. After his program was over, 
the old actors, who are enjoying a well- 
earned rest after long years of activity be- 
hind the footlights, offered to entertain 
him. They gave readings from plays in 
the casts of which they had been featured 
years ago, and, for his benefit, reminisced 
delightfully of the days long gone when 
their names were ones to conjure with in 
the playworld. 

'T' HE willful waste of money on woman's 
attire makes me woefully want to recti- 
fy the error!" said a leading actress to 
the present writer. After which she ex- 
plained that as a young girl she took up 
dressmaking, acquiring the necessary techni- 
calities in addition to her creative ability. 



Since then she has continued making her 
own clothes, that is, those worn in private 
life, the management, of course, providing 
those used in the theatre. "This season," 
the actress proceeded, "I was in a play of 
modern times, and represented a society 
woman. Three changes of costume were 
called for, and my individual bills amounted 
to eight hundred dollars. These charges 
were by no means excessive, as prices run 
nowadays. But I knew quite well that I 
could have duplicated the order for much 
less than half the sum. As a matter of fact, 
finding that one of the models suited my 
style, I copied it exactly, in similar material 
though different colorings, at eighty dollars. 
But the managers naturally believe more 
prestige is obtained by announcing 'Miss 
Blank's dresses made by Madame Dash.' 




Moffett 

THE LATE LILLIAN RUSSELL 

|A^ JJISTINCT feeling of personal lossl 
was felt along Broadway when the I 
.news was flashed from Pittsburgh on June I 
.5th that Lillian Russell had died in that 
city from the effects of an accident suffered i 
on shipboard. The "Queen of American 
Opera," for more than thirty years Lillian 
Russell starred in operatic roles in the 
United States and England. With the 
possible exception of Mary Anderson and 
Edwin Booth, she was more widely known 
internationally than any other American 
artiste. Noted for her radiant beauty, she 
was one of the most popular singing 
actresses on our stage. Her first appear- 
ance was in the chorus of "H. M. S. Pina- 
fore" in 1879. The same year she joined 
Tony Pastor's vaudeville theatre and it 
was he who suggested her changing her 
name from Nell Leonard to Lillian Russell., 
Soon afterwards she became a Casino Thea- 
itre star, singing such roles as Djemma in 
"The Great Mogul," Bathilda in "Oli- 



vette", Princess Etelka in "Nadjy," Flor- * 
ella in "The Brigands," the title role in 
"The Grand Duchess," Harriet in "Poor 
Jonathan," etc., etc. She remained at the 
Casino until 1899, when she became a 
member of the Weber & Fields stock bur- 
lesque company. She was married four 
times, first to Harry Braham, musical di- 
rector of Rice's "H. M. S. Pinafore," sec- 
ond to Edward Solomon, conductor of the 
Casino orchestra, third to Signor Perugini, 
the tenor, and then to Mr. Alexander P. 
Moore, publisher of the Pittsburgh Leader 
Company. The irony of Fate is that the 
author of "How to Live a Hundred Years" 
should herself die at the age of 61. 



A VAUDEVILLE actor comes to the 
defense of his branch of "the show 
business" by declaring that the successful 
two-a-day performers must distil the very 
essence of the dramatic art by producing 
definite results in the briefest time. In 
reply to my criticisms of much that is 
vulgar in these bills, he frankly admitted 
that a considerable number of the vaude- 
ville "artists" are, indeed, ill-bred to the 
point of illiteracy, with their deficiency in 
grammar being more than made up for by 
their excess of assurance. But he main- 
tained that even these singers, dancers, 
acrobats and animal-trainers "deliver the 
goods" called for by the "customers." Each 
one knows how to "make his points" and 
"put it over," the accomplishment being 
especially difficult when a pathetic playlet 
has to follow performing seals or a ballad 
singer has to follow roller-skaters. Some 
individual actors combine laughter and 
tears in one act, of short duration, and by 
their clever manipulation never carry the 
snickers over into the sniffles, or vice 
versa. 



remark credited to William Hodge 
that he has known actors who can 
mentally photograph their parts, so that 
they can see each line as it appeared in the 
typewriting they have studied, brings to 
mind the wonderful memory possessed by 
the late William Sampson, who was playing 
the father in "The First Year," when he 
died some weeks ago. It was an old actor, 
whose name is well known, who was talk- 
ing about it on a sunny Broadway corner. 
He said, "I was at the Players' Club a 
number of years ago, with the late Verner 
Clarges and Sampson as my luncheon com- 
panions. The conversation turned on old 
plays in which we had severally appeared, 
and how some of the lines still stuck in our 
memories. Clarges and I could remember 
speeches and parts of speeches in some of 
our old parts, but neither could go very 
far without cues. Then it was that Samp- 
son spoke of an old burlesque, 'The Field 
of the Cloth of Gold,' with Lydia Thomp- 
son as the star, in which he had had a 
rather long part that of the fussy chief 
official of a French town. He had not seen 
the part for many years, nor had he thought 
about it since playing it in his youth, in 
the late sixties or early seventies. Yet he 
repeated every line of it, cues and all, for 
our benefit at the Players' that day, and 
I don't believe he made one slip." 



[88] 



Theatre Magazine, August, tftl 




Goldberg 



After dancing her way 
into Broadway's favor as 
premiere danseuse of the 
Bolm Intimt Ballet, this 
charming terpsichorean 
artist is now touring the 
country in recitals. 



Gjldberg 



As he appeared with 
Ruth Page in their im- 
provised movements from 
an Eighteenth Century 
Minuet at the Equity 
Show. 



UNE DANSEUSE 



GRACEFUL DEVOTEES OF THE DANCE 



[89] 



What's The Matter With Musical Comedy? 

Less Tinsel, More Drama and Higher Type of Chorus Girl Necessary for Success 



By EDGAR MACGREGOR 

Producer of "For Goodness Sake," "The Velvet Lady," etc. 



DURING the last two years there has 
been a decided change in the type of 
musical comedy offered the public. 
There has come a realization that a musi- 
cal comedy, if it is to be a success, must 
have a plot; it must be impregnated with 
realism. The public has grown tired of 
watching merely gay, tinseled scenes, with 
dancers and singers, and actors going 
through a hodge-podge of movements which 
mean nothing in particular. The musical 
comedy which is slowly passing out of ex- 
istance, becoming obsolete, is the kind which 
boasts a large chorus, has, perhaps, one good 
song number, one or two fair dancers, a 
male chorus, and not an atom of reality. 

For instance, the old, outworn musical 
comedy which, though outworn, still is 
being occasionally produced is one some- 
thing like this: The curtain goes up on a 
bright and blinding scene. It is laid in the 
home of a society woman. The fittings of 
her home are realistic enough, and she looks 
every inch the lady. But, seated about in 
her garden, on the porch of her summer 
home, and in little cozy nooks about the 
place, are girls who would never be the 
invited guests of such a patrician. The 
music starts to play and these gay girlies 
jump up, kick up their heels in unison, and 
for no rhyme or reason commence to cavort 
about the place. The society woman's 
butler, perhaps, joins them, or her husband, 
or the fiance of one of the girls. 

TTHEY sing songs which have no bearing 
-- whatever upon the action the story 
of the play. When they subside, the audi- 
ence is grateful because then one of the 
characters steps out and begins to talk. 
The plot is beginning to unwind. But be- 
fore it has a good start, the trend of it is 
broken by the exuberant guests, again hop- 
ping before the footlights and dancing, jigg- 
ing and singing. The audience strains its 
ears to hear the words of the song, but 
even though it catches a phrase here and 
there, it seems to have no apparent con- 
nection with the comedy itself. 

A little later, perhaps, a bogus Duke 
appears. If the hostess, the host and their 
guests had any intelligence whatever, they 
would immediately know that the Duke 
was bogus. His manners are boorish. He 
is vulgar. He whacks the hostess on her 
back, and uses poor English. But the party 
goes blithely on. The society girls jump up 
and dance every once in a while, and the 
chorus men come in out of the nowhere 
and join them. 

Now I believe that chorus men are ab- 
ominations. The musical comedy of the 
future will dispense with them. They go 
through the same girlish gestures and move- 
ments which the chorus girls use. The 
chorus girls are taught certain distinctly 
feminine gestures with which to express 
certain emotions, or with which to empha- 
size them. The chorus men bounce on to 



the stage nimbly, and, strange as it may 
seem, use these same feminine gestures. 
Now every one knows that men's gestures, 
movements, smiles, and so forth, are en- 
tirely different than those of women. The 
reaction on the audience is one of scornful 
amusement, if amusement at all. Again 
the sense of reality is shattered. 

THE puerile plot unwinds itself, but the 
audience loses the story again and again 
because of the song number interruptions. 
Then, after the song number is over, a 
drumming-up-action trick is resorted to. 
One of the characters rushes on to the stage 
in much excitement, crying out something 
in a loud voice. This is to drag the atten- 
tion of the audience by force back to the 
plot. This should not be necessary. Never 
should the story of a musical comedy be 
so submerged that it is necessary to pull 
it up from the depths. After a chunk of 
plot, and then an irrelevant song number, 
and then another shred of plot, and another 
song number which has no connection what- 
ever with the story, the curtain rings down 
on a glittering ensemble dancing and sing- 
ing finale scene. Everything is bright and 
shining and gay. But, what was it all 
about ? 

Those in the audience file out, and the 
musical comedy has made no definite im- 
pression. The next day if some one who 
has seen this musical comedy desires to tell 
a friend about it, he is unable to describe 
it. All he can say is: "There was dancing 
and singing." A musical comedy should 
have more character than that. It most 
assuredly should leave a definite impression 
on the minds of those who paid good money 
to be entertained. 

A musical comedy should possess the very 
essence of comedy. It must also contain 
the soul of drama sentiment in its most 
engaging form. Its music should be high- 
grade, a sort of melodious poetry, for 
melody forms the basis of the entire struc- 
ture of musical comedy. Opera is musical 
comedy's half-sister. The successful musi- 
cal comedy of the future must have ex- 
tremely tuneful lyrics, with good singers to 
interpret them properly. I think it is a 
grave mistake to introduce into the score 
of a musical comedy one snappy song num- 
ber by a well- known composer, and then 
continue to play this up over and over 
again through the entire play. It becomes 
monotonous, and the repetition of this 
same number again helps to destroy realism. 

FOR instance, in a love scene between 
the soubrette and her partner, this 
sentimental number is first sung. Then, 
later, the comedian sings it to the kitchen 
maid or whoever he happens to be wooing 
at the time. The audience thinks: "Why 
do these pairs of sweethearts all sing the 
same songs to each other? There was 
nothing to, \ that, -p*jtty bit of sentiment, 

f '.. ,':'. > - -- 



after all! For I know right well that the 
comedian doesn't mean a word he's say- 
ing." After a new song number or two, 
of inferior quality, by the way, the song hit 
of the play is again drummed up. The 
mother of the soubrette sings it to the 
father. So, no matter how charming the 
sentiment of the hit number was it doesn't 
go over because it lacks sincerity reality. 
Every song number in a musical comedy 
should be a good one, and each one should 
be sung but once. If a young swain, in 
a mood of love and romance, sings a senti- 
mental ballad to his lady love, it should be 
sung that one time and no more. If the 
comedian is taken with the love germ he 
should convey it to his loved one in his own 
words. And so it should be with all the 
characters. The song numbers should all 
have a direct connection with the story of 
the play. Each number should blend with 
the plot, and not be independent of it. 
There should be no necessity to pull the 
audience back almost by force to a compre- 
hension of it. The song numbers should 
blend and flow with and augment, not in- 
terrupt, the plot. 

THE curtain should go up on a realistic 
scene, which immediately strikes the 
key-note of the piece. The opening of 
musical comedies with choruses is not neces- 
sary. There are other ways of raising a 
curtain, and introducing the first note of 
the story. Chorus girls, while a great asset 
to musical comedy, need not dominate it. 
They need not frolic through the piece 
without rhyme or reason. And I predict 
that musical comedies of the future will 
have smaller choruses eight girls, for in- 
stance. But these eight girls will be ex- 
ceptional ones. They will be talented. 
They will be capable of doing solo num- 
bers, execute a short specialty dance num- 
ber, read a number of lines. When there is 
a large chorus, no matter how attractive 
the girls are, no matter how charming their 
frocks, or divine their forms, the audience 
cannot possibly concentrate on them. It is 
like watching a three-ring circus. They 
are all crowded together helter-skelter 
not one an outstanding figure. It stands 
to reason that eight pretty talented, well- 
formed chorus girls will be far more in- 
triguing will stand out in stronger relief 
than a mass formation. 

These girls will not be the stupid autom- 
atons of musical comedies of the past. They 
will not all bob up and down at the same 
time, kick up their heels in unison, nod 
their heads simultaneously, wave their 
hands in one great flutter. They will dance 
and sing and frolic, but not as mechanical 
dolls. J The soul of musical comedy is life 
and gayety, and the girls will be gay, but 
gayety has moments when it is romantic, 
\vhen-it is merry, when it is roguish, when 
(Continued on page 120) 



* -.. 



[90] 



Tkfatre Uagatine, Attaint, 



I 




Photo Alfred Cheney Johnston 



FLORENCE O'DENISHAWN 



Always a delight to the eye, this popular dancer was to have been one of the principal figures in the new 
Follies, but sudden indisposition compelled her to take a sea trip to Porto Rico. She will be seen in the 

Follies later. 






[91] 



(Below) 

MADO DITZA 
In private life the wife 
of M. Schauten, this ca- 
pable leading woman, 
from the Theatre de la 
Renaissance, Paris, 
achieved unusual popu- 
larity during the Com- 
pany's stay in New York. 



ERNA RUBINSTEIN 

This sixteen year old Hun- 
garian girl, brought to America 
last year from Holland by 
Willem Mengelberg, guest Con- 
ductor at Carnegie Hall for the 
Philharmonic, played at his 
first concert here. She is now 
in Europe for rest and study. 



Apeda 




RUTH DRAPER 
This successful American 
diseuse, whose New York 
recitals filled the Selwyn 
Theatre last Spring, is 
again in Paris, where she 
has made a hit greater 
even than last year. 
After filling engagements 
at the Theatre de 1'Oeuvre 
and other Parisian play- 
houses, Miss Draper will 
go to Rome, returning 
home in January. (Photo 
by Muray.) 



Apeda 
CHARLES 

SCHAUTEN 
Leading man and art di- 
rector of the French 
Players, who have just 
closed in New York a 
most successful season. 
M. Schauten, who is from 
the Theatre Rejane, 
Paris, is planning to re- 
turn here next season 
with his Company. 



THE REAL BOSS OF THE 

SANTLEY FAMILY 
Joseph Santley and Ivy Saw- 
yer may have to obey the 
orders of a stage manager 
while appearing in the "Music 
Box Revue," but the real boss 
of the Santley menage is little 
Joseph, Jr., their three year 
old son. When not making up 
in their dressing rooms in town, 
the Santley's may be found at 
their beautiful home in Great 
Neck. 



Bain News Service 



SEEN IN THE PASSING SHOW 



[92] 



Theatre Magazine, August, 



Mr. Hornblow Goes to the Play 



EMPIRE. "THE RIVALS." Comedy 
in 3 acts, by Richard Brinsley Sheri- 
dan. Produced June 5th, with this 
cast: 

Sir Anthony Absolute Tyrone Power 

Captain Absolute Robert Warwick 

Faulkland IV<!ro dc Cordoba 

Acres Francis Wilson 

Sir Lucious O'Trigger John Craig 

Fag Henry E. Dixey 

David Janifs T. Powers 

Mrs. Malaprop Mary Shaw 

Lydia Languish Violet Heming 

Lucy Patricia Collinge 

THE Players, emerging from their 
hitherto most conservative shell, 
announce a plan to stage yearly a 
classic revival. Recently at the Em- 
pire they put forth their first venture 
in this line and gave for a week "The 
Rivals" with a cast bristling with 
names distinguished in the profession. 

A new generation has sprung up 
since Jefferson last presented Sheri- 
dan's delightful comedy, but in appre- 
ciation of its wonderful character 
drawing and splendid wit those of 
today apparently are as responsive in 
laughter and applause as their pred- 
ecessors ever were. It is not necessary 
to critically insist that in traditional 
detail this latest performance left 
something to be desired. It was a 
good sound interpretation. Five play- 
ers stood out: Francis Wilson, whose 
rendering of Bob was fresh, fluent and 
amusing, free from exaggeration and 
slavish devotion to established ideals; 
James T. Powers, deliciously droll an;l 
whimsical as the devoted but affrighted 
David, the absolutely real thing; 
Henry E. Dixey, debonair and know- 
ing as Fag; Pedro de Cordoba, who 
wore his clothes and moved with the 
authority of a perfect Eighteenth Cen- 
tury gentleman, and Tyrone Power as 
the alternately human and choleric 
Sir Anthony. 

Robert Warwick was the Captain 
Absolute; John Craig, Sir Lucius 
O'Trigger; Mary Shaw, Mrs. Mala- 
prop; Violet Heming, Lydia Languish; 
and Patricia Collinge, Lucy. 

Norman Bel Geddes' scenery of the 
imaginative type worked better in- 
doors than without. 




NEIGHBORHOOD. "MAKERS OF 
LIGHT." Play in 3 acts, by Frederic 



Lansing Day. Produced May 23rd, 
with this cast: 

Mrs. Nclis Eva Condon 

Willis Button Junius Mathews 

Agnes Chatley Esther Mitchell 

David Nellis Ian Maclaren 

Sally Morton Adrienne Morrison 

James Grupton, Sr. Herbert Ashton 

Jimmy Grupton Albert Caroll 

John McCleary Frederick Lloyd 

Joseph Prine John Francis Roche 

A SCORE of analogies were brought 
to mind at the opening of "Mak- 
ers of Light," at the Neighborhood 
Playhouse, for it is one of those plays 
which deals with a pupil's love for his 
teacher, a time honored dramatic sit- 
uation. Yet, in this instance, the old 
theme takes on a new coloring and one 
peculiarly characteristic of the present 
age. What was formerly a sentimen- 
tal love affair, becomes a matter of 
scientific consequence that must be 
considered in relation to modern opin- 
ions on youth and environment; to 
character and the making of character, 
through, say psychoanalysis. In re- 
cent days it has been the custom to 
deplore feminism in schools, the undue 
influence of women teachers over im- 
pressionable youths and other attend- 
ant matters. Similarly, the relation 
of youth to love and passion has been 
presented in plays like Frank Wede- 
kind's, "The Awakening of Spring." 
The story concerns the experiences 
of a timid school boy, not one unlike 
"Tonio," in Thomas Mann's famous 
short masterpiece of that name. He is 
fond of his studies and talks about 
them freely to his teacher, who is 
twelve years his senior. He talks to 
her so freely, in fact, that their formal 
relations gradually turn into an in- 
timate one; from teacher and pupil 
they are unconsciously transformed in- 
to lover and mistress. And the treat- 
ment of their love affair is so skillful 
and earnest that its very incongruity 
becomes convincing, poignant and 
finally tragic, for their love has tragic 
consequences. When Sally, the teacher, 
tells her young lover that she is,about 
to become a mother, he envisages in- 
stantly the dire results which may at- 
tend the birth. Utterly overcome by 
remorse, he goes down the roadway 
and kills himself. 

Thanks to the earnestness and dis- 
crimination of the cast, "Makers of 



Light," the last play of the Neighbor- 
hood Playhouse season, had a highly 
impressive presentation. Albert Car- 
roll and Adrienne Morrison were 
convincing in the difficult roles of the 
lovers; and Ian Maclaren, the bul- 
wark of Neighborhood Playhouse suc- 
cess, showed his customary artistry 
as David Nellis, an English teacher. 
"Makers of Light" is not a pleasant 
play, but it is a memorable one. 



HENRY MILLER. "A PINCH 
HITTER." Comedy in 4 acts, by H. M. 
Harwood. Produced June 1st, with 
this cast: 



Millicent Hannay 

Nigel Bellamy 

Page 

Mr. Prothero 

Dennis Lestrange 

Archibald Hanay 

Joyce Traill 



Pamela Gaythorne 

Charles Waldron 

Gordon Gunniss 

J. M. Kerrigan 

Allan Pollock 

Edgar Kent 

Helen Stewart 



THOUGH much of the material of 
H. M. Harwood's comedy, "A 
Pinch Hitter," is made up of familiar 
material, the management of situations 
and the crispness of the dialogue give 
the play freshness and charm. Es- 
pecially is this true of the first act a 
very ingenious one with a distracted 
pair of "mental lovers" seeking the 
tricky services of a rascally lawyer 
who is an expert in effecting divorces. 
This lawyer, as portrayed by J. M. 
Kerrigan, was one of the finest char- 
acterizations of the present season, a 
superb conception of an unctious Dick- 
ens type, which, despite its brevity 
deserves mention with Lenore Ulric's 
Kiki. Once in the hands of this law- 
yer, "the mental lovers," Millicent 
Hannay and Nigel Bellamy proceed to 
engage a certain Dennis Lestrange 
Allan Pollock as professional co- 
respondent, thereby launching them- 
selves into many unexpected and 
entertaining experiences. For, oddly 
enough, the co-respondent has an 
ethical sense and a romantic disposi- 
tion, and though he serves faithfully, 
he proceeds to fall in love with the 
niece of Millicent, while incidentally 
winning the sentimental interest of 
that lady herself. It is all very droll, 
and sometimes broadly funny, espe- 
cially when Charles Waldron, the 
distressed Nigel, gives way to pro- 



[93] 



fessional grief that would do credit 
to George Tesman. 

All this has to do with the play 
itself. Next, Allan Pollock must be 
discussed, for he is, of course, the ex- 
cuse for the production. No better 
excuse could be provided; he proves 
to be as good in comedy as in such 
somber works as "A Bill of Divorce- 
ment." Though not the type of per- 
son ordinarily chosen for such a role, 
he gave to his part the impression of 
youth, vivacity and spirit. All this, 
of course, in a subdued manner; yet 
one which wistfulness and intrinsic 
gentility made memorable. The world 
is already acquainted with Mr. Pol- 
lock's splendid record as a soldier and 
his fine personal character; now to 
this is added the revelation of a high 
comedy attitude toward life. 

Supporting Mr. Pollock was a high- 
ly efficient company, including stately 
Pamela Gaythorne as Millicent, Helen 
Stewart, an ingenue with common 
sense, and Edgar Kent. 

The production, though simple, was 
decidely effective, thanks to the appro- 
priateness of the settings and the cos- 
tumes. "Pinch Hitter," by the way, 
is a baseball term, having to do with 
substitution. 

GARRICK. "FROM MORN TO MID- 
JJtCHT." Play in 7 scenes, by George 
Kaiser. Produced June 5th, with this 
cast: 



Cashier 

Stout Gentleman 

Clerk 

Messenger Boy 

Lady 

Bank Manager 

Muffled Gentleman 

Serving Maid 

Porter 

The Lady's Son 

The Cashier's Mother 

His Daughters 

His Wife 
First Penitent 
Fourth Soldier of Sal 

Policeman 



Frank Reicher 
Ernest Cossart 
Sears Taylor 
Francis Sadtler 
HjleaJVestley 
Henry Travers 
Allyn Joslyn 
Adele St. Maur 
Charles Cheltenham 
Edgar Stehli 
Kathryn Wilson 
Lela May Aultman 
Julia Cobb 
Ernita Lascelles 
Charles Ellis 
vation Army 

William Crowell 
Stanley Hewlett 



WHATEVER the Theatre Guild 
produces is at least apt to have 
the stamp of interest attached. Both 
dramatic and interesting was its final 
production of the season, "From Morn 
to Midnight," by George Kaiser, a 
play in seven scenes rendered into 
capital English by Ashley Dukes. 
This concluding experiment is usually 
given for the sole benefit of sub- 
scribers, but this year the general pub- 
lic was privileged to attend six addi- 
tional performances of the Kaiser 
play. 



"From Morn to Midnight" is written 
in terms of the cinema drama, scene 
follows scene in the sequential and 
logical development of its fable. But 
as the spoken play must always have 
it over that of the screen each 
phase is rendered with a true and 
gripping regard for the subtleties of 
its psychological content. And it is 
just this particular that removes 
"From Morn to Midnight" from the 
realm of theatrical exaggeration and 
sentimental banality into the field of 
thoughtful drama. Stylistic setting, 
designed by Lee Simonson, and simple 
to a degree, was with a single excep- 
tion entirely satisfying. 

A bank cashier, a model in every 
particular, yields to a s.udden impulse 
a woman, of course whom he thor- 
oughly misunderstands, and becomes 
an embezzler. His experience from 
this hour until late at night in a Sal- 
vation Army bar-room, when he blows 
out his brains, gives Mr. Frank 
Reicher an opportunity for a fine sus- 
tained and varied display of mixed 
emotions and reactions, an arduous 
and exacting role which he enacted 
with fine virtuosity. 

The other parts are merely details 
in his day's history, but there are 
many admirable bits for good intelli- 
gent acting. Helen Westley in a dual 
role, Henry Travers as a self-satisfied 
bank manager, Edgar Stehli as a too 
trusting waiter, and Ernita Lascelles 
as the Salvation lassie deserve par- 
ticular mention. 



VANDERBILT. "FANNY HAW- 
THORNE." Play in 3 acts, by .Stanley 
jjoughton. Produced May llth with 
this cast: 

Mrs. Hawthorne Louie Emery 
Christopher Hawthorne Whitford Kant- 
Fanny Hawthorne Kili-m llulian 
Mrs. Jeffcote Alice Belmore Cliffe 
Nathaniel Jeffcote Herbert Lomas 
Ada Nannie Griffin 
Alan Jeffcote Gordon Ash 
Sir Timothy Farrar Walter Edwin 
Beatrice Farrar Gilda Leary 

THOUGH the revival of Stanley 
Houghton's play, "Hindle Wakes," 
under the name of "Fanny Haw- 
thorne," has made a difference in 
nomenclature, the play itself remains 
the same, intrinsically, manifesting 
again, with almost startling freshness, 
the fine values apparent at the first 
production and in book form. 

It is not extravagant to say that 
"Hindle Wakes" is one of the best 
plays of modern times. Its characters 
are vividly drawn, quite real beings 



who might well fit into such a neigh- 
borhood as the people of George 
Elliot's books frequent. Structurally, 
it is deft and compact. And it is not 
without its touches of grim humor. As 
a work of special pleading, it must 
always be associated with Ibsen's "A 
Doll's House" and "Ghosts," intense 
appeals for individual rights. "Hindle 
Wakes," in fact, was almost the last 
word on the subject until Eugene 
O'Neill wrote "Diffr'nt." 

Fanny is a dynamic heroine, whose 
straight thinking and womanliness lift 
her above the incident to which she 
has been a part. She looks fearlessly 
into "the cold gray, dawn of the morn- 
ing after." Though her future must be 
sombre, she plunges into it with cer- 
tainty, a certainty that has come to all 
women, we hope, since Nora slammed 
the door behind her and made a sim- 
ilar plunge. 

To recount the story of the play is 
needless, of course. It has become 
well known to all those who follow 
modern tendencies in fiction and on 
the stage. Yet there was nothing 
hackneyed in the play as presented 
in this revival; the players gave it a 
powerful and fervent presentation, 
one which stands out as noteworthy 
among the best productions of the 
year. That stock term, esprit de 
corps, best describes the sympathetic 
earnestness that actuated every indi- 
vidual player, whose one purpose was 
to make the play a perfect picture. 

Whitford Kane was the most ideal 
member of a cast which had many 
rare qualities. But the public has 
grown accustomed to the beauty of his 
art, his pervading gentleness, his love 
for humanity, his aristocratic humble- 
ness and his humor. All these terms 
are paradoxical; yet they all apply 
to Whitford Kane, whose power to 
catch the subtleties of Dunsany, the 
wistfulness of Galsworthy's "Pigeon" 
is unmatched. 

Herbert Lomas was an impressive 
Nathaniel Jeffcote, likeable despite his 
severity. Alice Belmore Cliffe was 
admirable as the somewhat, easy-going 
Mrs. Jeffcote, while Louie Emery was 
an excellent foil as the saturine Mrs. 
Hawthorne. 

The beautiful Eileen Huban was a 
splendid Fanny a little too stubborn, 
perhaps, but quite tender and sad in 
her farewell to Alan, the casual lover. 
Alan, by the way, as portrayed by 
Gordon Ash was too markedly cosmo- 
politan for the early scenes, but fitted 
into the situations better as the play 
advanced. 



[94] 



'1 Itfatre Maffasine, August, 



"Fanny Hawthorne" deserves a long 
and successful run. 



SHUBERT. "RED PEPPER." Musical 
entertainment in 2 acts ; book by 
Edgar Smith and Emily M. Young, 
music by Albert Gumble and Owen 
Murphy. Produced May 29th. 

AS far as confirmed Mclntyre and 
Heath admirers are concerned, 
"Red Pepper" would be a success if 
they but went through with their ver- 
bal pig stuffing stunt. As for others 
either those who are just getting ac- 
quainted with these blackface come- 
dians, or those who have known them 
through the years this musical enter- 
tainment is a stiappy summer show 
nothing more or less. James and 
Thomas roll the bones in the same 
old funny way, wear the same noisome 
clothes, and get over their lines in the 
same droll and whimsical manner. 

The chorus girls are lively, but not 
particularly lovely. Their "Strut Your 
Stuff" number is unique, and the out- 
standing feature of all the chorus 
work. The Fooshee twins Gladys 
and Sybil are fresh and attractive 
looking mites, but too googoo-sweet. 
Their baby trills and set smiles pall 
after a bit. There are several other 
principals aiding and abetting the old- 
timers Mclntyre and Heath. There 
is Florence Rayfield, who has beauti- 
ful hair, but who is too conscious of 
this fact; Bee Ho Gray, a lariat 
twirler, who is excellent in his way, 
but who seems to pattern his style 
after Will Rogers, or perhaps its vice 
versa ; and Mabel Elaine, an eccentric 
dancer, who impersonates a colored 
lady-highbrow. 

Two sweet-voiced singers have 
negligible places in the cast, but their 
singing is commendable. They are 
Vivian Holt and Lillian Rosedale. 
Summing it up, this new vehicle for 
the two blackface favorites, has 
enough snap and seasoning to war- 
rant its title. 



FULTON. "ABIE'S IRISH ROSE." 
Comedy in 3 acts, by Anne Nichols. 
Produced May 23rd^ 

WHEN lilacs bloom and the modest 
violet begins to assert itself in 
the open, the quality of new theatrical 
happenings is apt to lessen materially 
in artistic value. Critical taste slacks 
off as the thermometer advances and 
so the manager grades his programs 
accordingly. 
"Abie's Irish Rose," at the Fulton, is 



in keeping with the season. It is thor- 
oughly unpretentious and it is visibly 
preposterous, but it is nevertheless ex- 
tremely diverting. It is good, riotous 
entertainment and alertly alive with 
hearty laughs. Its author, Anne 
Nichols, apparently knows, to her 
finger tips, the exacting technique re- 
quired by the vaudeville stage. Her 
dialogue is what is professionally 
known as "side-walk conversation," it 
is the slapstick exchange of so-called 
repartee, and the situations into which 
she plunges her characters are sound- 
ly sure in their traditional and ac- 
cepted worth. 

Abie Levy, a young Hebrew, and 
Rosemary Murphy, faith and nation- 
ality thoroughly indicated by the 
name, are secretly married by a 
Methodist clergyman. To reconcile 
Abie's orthodox father and Rosie's 
equally irascible Irish parent makes 
for the principal interest, with the 
result that the youngsters are married 
twice again, once by a Rabbi and sub- 
sequently by a Catholic priest. The 
clashes between the Jewish Montague 
and the Irish Capulet are productive 
of much fun. . 

The young people are nicely played 
by Robert B. Williams and Marie 
Carroll. Papa Levy is broadly handled 
by Alfred Weisman, while the Irish 
prototype has an aggressively athletic 
exponent in John Cope. 



GAIETY. "THE DRUMS OF 
JEOPARDY." Play in 5 scenes, by How- 
ard Herrick and Harold MacGrath. 
Produced May 29th. 

THE DRUMS OF JEOPARDY" 
sound stirring enough wrought 
thus into a title. But, as a play, they beat 
faintly. Perhaps Harold MacGrath's 
story was readable enough; drama- 
tized, it is wrecked and ruined. It 
is a ridiculous hodge-podge of mystery, 
melodrama, romance, and tragedy. 
Two huge emeralds (from which the 
play derives its name), a Bolshevik, 
a Russian Prince, a sad musician, a 
newspaper man and a newspaper 
woman run riot through the five 
"scenes" not acts, as the program in- 
forms you. 

There are so many ridiculous flaws 
inconsistencies, absurd phrases and 
scenes in this play that it would be 
cruel to attempt to enumerate them. 
However, though a cast can not be 
exactly expected to work enthusiastic- 
ally with poor material, still there is 
no excuse for actors continually fum- 



bling and forgetting their lines and 
cues and stage business as did those in 
the cast of "The Drums of Jeopardy." 
And when the butler, Emmet O'Reilly, 
announces the name of a guest before 
he has even opened the door to see 
who is there, Tuesday's night's au- 
dience could restrain its mirth no 
longer and howled with delight. 



THIRTY-NINTH STREET, "THE 
ROTTERS." Satirical Comedy in 3 acts, 
by H. F. Maltby. Produced May 22nd. 

THE members of the Clugston 
family were rotters, from the 
father to the flapper daughter, yes, 
even to Phoebe, the servant. But there 
was not enough of cleverness mixed 
with their "rotting" to make it inter- 
esting. They were a common, vulgar 
lot and they wallowed in their com- 
monness, their vulgarity and their 
sham respectability ad nauseam. The 
play did not last long on Broad- 
way. 



NEW AMSTERDAM. "ZIEGFELD 
FOLLIES." Music by Victor Herbert, 
Louis A. Hirsch and Dave Stamper; 
book by Ring Lardner and Dave 
Stamper. Produced June 5th, with 
this cast: 



Miss Take 

Youth 

Alice 

Ambassador Harvey 

Bootlegger 

Capital 

Retired Bankrupt 

Labor 

Senator Sapp 

Movies 

Bonus Bill 

Flapper 

Peppy Hopkins 

Taxes 

Miss Calculate 

Miss Trial 



Mary Lewis 

Andrew Tombes 

Mary Eaton 

Brandon Tynan 

Teddy Knox 

Ed Gallagher 

Al Shean 

J. J. Shannon 

Frank Lambert 

Martha Lorber 

Frank Tierney 

Lulu McConnell 

Helen Lee Worthing 

George Truscott 

Margery Chapin 

Edna Wheaton 



WHAT would New York be with- 
out Ziegfeld's annual production 
of the Follies? It , as usual, a 
stupendous production, with money 
spent recklessly. It is a feast for the 
eye, but unfortunately it lacks origi- 
nality. Of course, no one expects a 
sermon, but a little more wit here and 
there, a little more original music, 
would certainly help. As it is, how- 
ever, the Follies are just as good as 
the preceding productions, but not any 
better. Will Rogers is heard again in 
his clever monologues, and hits were 
scored by Ed Gallagher and Al Shean, 
who have emigrated from the vaude- 
ville circuit. 



[95] 



The One Man Show 

Only a Super-Comedian Able to Constitute Himself the Sole Attraction 

By ALTA MAY COLEMAN 



COMEDY cannot be analyzed. Like 
electricity, we don't know what it 
is, but we do know what it will do. 
It will make people laugh. All the high- 
brows who have written serious tomes ex- 
plaining comedy, including the French 
philosopher, Henri Bergson, have told us 
little more than that. 

So, when it came to finding out what 
qualities a comedian must have to become 
a super-comedian, what "extra added at- 
tractions" he must possess in order to be 
"the whole show," we avoided sober- 
minded analysts and sought enlightenment 
from the artistes in question. They are 
rare; less than half a dozen shine in the 
theatrical firmament. 

Such qualifications as personality and 
imagination, Ed Wynn seems to take for 
granted in a comedian. He passes lightly 
over them to lay stress on the copybook 
maxim of honest toil. 

"Work. Very hard work. That's it," 
he said. "Very hard work and study." 

Mr. Wynn ought to know. He is a 
perfect example of the three-ringed circus 
boiled down to one man. He not only is 
the whole show. He wrote it. "The Per- 
fect Fool" is his, book, lyrics and music. 
He staged it. He designed scenery and 
costumes. And he turned his winter season 
at the Cohan Theatre into a summer run, 
because he entertains so many different 
kinds of people. 

THE tired business man, the tireless 
flapper he hands them both a laugh. 
The radicals of Greenwich Village who 
know all about sex and psychoanalysis are 
Ed Wynn fans, although he never has a 
sex joke in his plays. His humor is so 
delightfully bizarre, they say. Judging 
from some of their smocks and hair cuts, 
they know what bizarre means. 

"But study, Mr. Wynn ? What do you 
mean, study?" 

"Study. Acquire knowledge by effort 
apply the mind, as in lessons. The Uni- 
versity of Pennsylvania taught me a lot of 
things besides the college yell, but it didn't 
have lessons in everything. For example, I 
didn't graduate an acrobat. I've had to 
learn that, haven't I ? 

"And mind-reading. I'm not a psychic. 
I don't claim to be a psychic. Do I look 
like a psychic?" 

We regarded the long sober face, the 
long chin which Mr. Wynn describes with 
the Biblical phrase as the original "jaw- 
bone of an ass," the alert brown eyes spark- 
ling like a couple of live wires behind horn- 
rimmed spectacles, the neat brown business 
suit, modest tie, big black cigar. 

"No, you don't look like any psychic we 
ever saw." 

"I'm not. That mind-reading skit is 
code. I had to memorize twenty-eight 
hundred words to work that. Twenty- 
eight hundred words! The entire lan- 



guage of a profession more special words 
than any doctor or lawyer has to know. 
Not only learn them by rote but use them. 
Study? Humph!" 

"But now that you know them 
"Now I know them, I've got to learn 
something else, haven't I ? After my first 
show, the 'Carnival,' people said: 'He's 
done it this time. But he's through.' Yes, 
that's what they said although I had been 
eleven years in vaudeville and never played 
the same act two seasons. Well, you can 
see in 'The Perfect Fool,' I wasn't through 
and I didn't repeat. In my next show 
I'll play seventeen musical instruments; 
really play them. You have to do a thing 
pretty well before you can burlesque it. 

OUITE the opposite of Mr. Wynn, who 
may be compared to the old-time court 
jester who concealed beneath his motley the 
wisdom of a sage, is Al Jolson, who recks 
not whys nor wherefores. His humor is 
as spontaneous and irresistible as the 
gamboling lamb or the playful pup. 

Whether his vehicle is called, "Robinson 
Crusoe, Jr.," "Sinbad," or "Bombo," makes 
no difference. Scenery, chorus, plot are but 
necessary adjuncts to Mr. Jolson's per- 
formance. Of the two hours and a half of 
"Bombo," he is on the stage two hours and 
five minutes. And leaves the audience call- 
ing for more! How does he do it? What's 
the answer? 

Mr. Jolson phrased his theory speedily 
and succinctly. 

"There isn't any answer. You can or 
you can't. You do or you don't. If you 
can, you just step out on the stage and do 
it. That's all there is to it." 

Mr. Jolson's big brown eyes brimmed 
with life and vitality. His compact body 
radiated energy. His flexible mouth seemed 
on the brink of laughter from sheer good 
spirits. There was no weight of responsi- 
bility that within five minutes he must 
quicken three thousand people with laughter 
and emotion. He was as gay as a school 
boy let loose on a lark. 

"But don't you have to work hard, Mr. 
Jolson?" 

"Of course, I work hard. I've got more 
pep in me right now than ever before in my 
life." 

"The more pep you have, the better the 
show goes; is that it?" 

"I suppose so. Anyway, I want to feel 
good. All day I stay out in the air as 
much as I can. I don't ever want to drag 
through a show. I want to enjoy it, too. 
What's the use of living if you don't en- 
joy what you're doing?" 

THIS bounding energy, sheer health and 
human vigor is half of Mr. Jolson's 
secret. His spirits never flag and he carries 
his audience with him on the high seas of 
rollicking fun. His entertainment varies 
from bits of legitimate characterization to 



broad burlesque, with moments when he 
steps out of his role to be Al Jolson singer 
or raconteur. His songs are of two varieties, 
lively comedy songs such as "The Wonder- 
ful Kid from Madrid," and ballads of the 
"Mammy" school which he sings with an 
emotional fervor that a religious exhorter 
would envy. 

"I have to feel them to sing them. With 
the orchestra right, and the audience out 
there listening for all they are worth, then I 
just let go and sing. You know, sing for all 
there is in me." 

Who besides Fred Stone can sing, dance, 
ride horses and command the slithery lariat 
with equal skill ? He stands preeminent as 
the athletic comedian. For almost a score 
of years his funny arms and legs have 
evoked laughter from coast to coast. Like 
Mr. Wynn, Mr. Stone believes in con- 
stant practice. Some section of every day 
finds him on the bared stage of the theatre, 
creating new dances of increased vigor or 
inducing his rope to intricacies. 

Raymond Hitchcock, after a triumphant 
career as a musical comedy star, became 
a glorified ring-master in his "H itchy- Koo" 
revues. Other prominent players were in- 
cluded in his organization, but Mr. Hitch- 
cock was the dominant personality and chief 
entertainer, with his songs, skits and heart- 
to-heart chats with the audience. Similarly, 
Frank Tinney's varied comicalites are the 
web if not the woof I suppose he would 
sav "woof woof" of "Tickle Me." 



ELSIE JAN IS has lately discovered that 
her lively personality will shine with- 
out aid of a plot. From the days of "The 
Vanderbilt Cup," Miss Janis has been 
noted for her versatility her songs, her 
dances, her imitations and the Elsie Janis 
cartwheel. Now presenting the second 
edition of "Elsie Janis and Her Gang," 
she adds the laurels of author and director. 
Nora Bayes, whose quickening charm and 
varied songs kept the wheels going round 
at high speed in "Ladies First," is plan- 
ning another entertainment of the same 
type. 

Further likely candidates in the field of 
the "one man show" are Will Rogers and 
Eddie Cantor. So far as audiences are 
concerned, they're both elected. Mr. 
Cantor heads this year's Winter Garden 
show, "Make It Snappy," contributing a 
stage-door skit that runs fifteen minutes; 
a policeman skit, thirteen minutes ; eighteen 
minutes of the Jewish tailor skit ; five min- 
utes in the restaurant scene; eight minutes 
of the taxi wrangle; ten minutes in the 
burlesque of "The Sheik" ; and fifteen min- 
utes of songs in blackface one hour and 
fifteen minutes in all. 

Mr. Cantor's remarkable versatility, his 
swift, sure humorous characterizations and 
his songs, delivered with febrile intensity, 
qualify him to entertain for double that 
time. 



[96] 






Theatre Mayatine, August, if 




Abbe 



MARGARET WILSON 

This Southern beauty, a new-comer 
to Broadway, deserted society for 
the stage. As the prima donna in 
"Make it Snappy" she gives the 
T. B. M. something to look at and 
be that much less tired. 



BETTY FITCH 

A popular show-girl whose 
decorative qualities are an 
important feature of the 
Eddie Cantor Review, 
"Make It Snappy." 



ALICE WEAVER 

A charming little 

dancer who la doing 

her bit to "Make it 

Snappy." 




Abbe 




BEAUTY HELPS 



.. 
AMw 



'MAKE IT 

[97] 



SNAPPY" 



Twenty Years of Theatre Building 

Remarkable Improvements Made of Recent Years in Housing The Modern Drama 



TUCKED away in a dingy office on 
West 33rd Street, New York, sur- 
rounded by draughts and blue-prints, 
is a grey-haired man of middle age by the 
name of Edward Margolies. Although 
little known to the general public, Mr. 
Margolies is a dominant power in the thea- 
trical world. For twenty years he has de- 
voted himself exclusively to the building of 
theatres in New York, Boston, Philadel- 
phia, Pittsburg, Baltimore, Chicago, Cin- 
cinnati, and other large centers. In the 
past fifteen years he has built all but four 
of the many legitimate playhouses erected 
in New York the capital of theatredom. 

"Of the millions of people who patronize 
the theatre in this country," said Mr. Mar- 
golies, "very few give a thought to the 
material comforts that surround them. 
One in a thousand notes the style of archi- 
tecture, the form of construction, the im- 
provements in design of the playhouse he 
happens to visit. Such things are taken for 
granted. As long as they are seated in an 
upholstered chair, and are comfortable, 
their interest in their 
s u r r o u n dings is 
purely subconscious. 

"How many ever 
stop to think that 
the heat which 
warms them comes 
from outside the 
theatre itself, that 
the up-to-date, con- 
crete structure in 
which they s i t 
stands as an example 
of generations of 
evolution in the 
building trade, that, 
in the past twenty- 
five years, in New 
York, there has not 
been a single fire, 
that each edifice re- 
presents an outlay 
of some four or five 
hundred thousa n d 
dollars? These 
facts, and many of 
a more vital inter- 
est, are Greek to the 
average theatregoer. 
Interwoven with 
them, however, is the romance of theatre 
building something more than a branch of 
the building trade a profession in itself." 

It is easy to see, by the keen enthusiasm 
in his voice, that Mr. Margolies is com- 
pletely wrapped up in his subject. His black 
eyes glow and the big, muscular hands 
clench the arms of his chair as he talks. 
Although his specialty of theatre building 
was acquired somewhat by accident, it is 
apparent that it has absorbed his entire out- 
look. About twenty-one years ago, Mr. 
Margolies was constructing an ocean pier 
at Arverne, Long Island, and as a business 



By BURR C. COOK 

venture for his son he decided to erect a 
theatre on the structure. It was his first 
attempt at theatre building and he became 
interested in the problems presented. The 
building was only partly finished when his 





VIEW FROM THE STAGE OF THE FORTY-NINTH STREET THEATRE, 

NEW YORK CITY, 

an excellent example of the wide, flat auditorium now used in theatre construc- 
tion. No obstructing posts, no "side-line" seats with distorted view, and perfect 
economy of space [Inset] Edward Margolies theatre builder. 



son was taken ill and died, and as a me- 
morial to the latter, Mr. Margolies com- 
pleted the work, exercising the greatest 
care and artistry in its appointments. 

"I had often sat in theatres," continued 
the latter, "and observed the gilt and tinsel, 
the obstructing posts and cornices, the 
pinched, inadequate boxes, clinging like 
barnacles to what might have been a digni- 
fied and artistic proscenium, and I made 
up my mind to construct something differ- 
ent and something better. Even in those 
days the old-fashioned tiers of boxes were 
coming into disfavor. They were really 



a survival of the Elizabethan drama that 
admitted spectators to three sides of the 
stage\ and in some instances, to the stage 
itself. 

"The idea of enclosing the scene of a 
play in a frame, as one would a picture, 
was just coming into vogue. Shakespear- 
ean productions and the pompous allegories 
of the later nineties were giving place to 
such American plays as "The Lion and the 
Mouse," and "Bought and Paid For," and 
these presentations readily adapted them- 
selves to the new idea. At the same time, 
elaborate scenic effects became popular 
stage illusions and the like which made it 
advisable to keep the audience farther from 
the proscenium in order to create an effect 
of reality. 

"I constructed my son's theatre with the 
latest developments in view. The Iroquois 
Theatre disaster in Chicago was fresh in 
mind, as well as several similar calamities, 
and I determined to make my playhouse 
absolutely fire-proof and capable of being 
emptied in from five to ten minutes. Such 
a thing was unheard 
of in those days, al- 
though at present a 
properly-constructed 
theatre should be 
emptied in less than 
five minutes. 

"Several man- 
agers saw my 
finished house and I 
received many com- 
pliments in regard 
to it and one or two 
contracts for others 
of a similar nature. 
Thus began m y 
career of theatre 
building and I have 
been at it ever since. 
So wide-spread and 
rapid has been the 
evolution of the 
stage since then that 
today, in New 
York, the great thea- 
tre center of the 
world, there is not 
one theatre over 
twenty years of age 
left standing. 

"While critics are constantly deploring 
the 'commercializing' of the drama in this 
country, few realize what actual benefits 
this commercial spirit has engendered at 
least on the material side of the profession. 
It is because of this spirit that there are no 
antequated structures left. Two impor- 
tant factors have been at work in the gradual 
evolution of the playhouse one being 
the change in the nature of dramatic en- 
tertainment, and the other, the modern 
insistence on efficiency and economy in 
time, space, and money. It was only a 
short while ago that every theatre was 



[98] 



built as a unit usually with a cupola, 
ornate facade, and roof trimmings. The 
"opery" house, the pride and glory of every 
small hamlet in the land, was and in many 
instances, still is an example of this old- 
fashioned tendency. 

"Today, a theatre has be- 
come a commercial proposition 
an entire building capable 
of. paying for itself through 
its rental of office-space and 
stores. The Shuberts, whose 
theatres I build exclusively in 
all parts of the country, have 
raised this phase of the indus- 
try to its highest perfection. 
Their playhouses are more 
than beautiful palaces of en- 
tertainment; they are muni- 
cipal assets of a decided com- 
mercial value, the possession 
of which is an honor to any 
community. 

"One of the chief results of 
this new development has been 
to raise the cost of theatre- 
building to almost three times 
its former figure, but the ad- 
vantages over the old style of 
building far outweigh the in- 
creased expenditure. Today, 
a theatre costs anywhere from 
two hundred thousand to six 
hundred thousand dollars. 
Constructed on a plot of two 
hundred square feet, however, 
it can be made to accommo- 
date all of two thousand peo- 
ple, whereas, before, it was a 
problem to arrange a seating 
capacity of 900 in spite of 
balconies and 'peanut' galler- 
ies ad infinitum. 

"These 'seventh heavens' 
were usually reached by 
means of winding wooden 
stairs which were fire-traps 
of the most dangerous sort. 
Today, we have done away 
with this evil. Since the fire 
laws forbid the installation of 
furnaces in theatre buildings, another danger 
has been avoided by setting up heating 
plants in separate structures outside the 
theatre itself. Pipes carry the heat into the 
auditorium. I believe the 'intimate' thea- 
tre has come to stay. Attempts have been 
made to produce small plays in large thea- 
tres but they have almost invariably failed. 
A small play needs a small theatre and a 
large play a large one. 

"Another advantage the new theatre has 
over the old is in the construction of the 
walls. The walls of the old theatre were 
eighteen inches thick and as was disclosed 
in the recent dismantling of the Wallack 
Theatre, New York were often built of 
lime, which dries quickly and crumbles 
away, leaving the sides very weak. When 
the supporting girders were removed, the 
walls of the old Wallack could actually be 
pushed over by workmen with their hands. 
The present-day theatre is built with so- 
called 'curtain' walls, made of iron struts 
and cement. They are so much thinner 
than the old style wall that they add an 
average of one hundred chairs to the seating 



capacity, and they are so strong that it 
would take an artillery bombardment to 
destroy them. 

"It is a happy coincidence that the de- 
mand for efficiency in the theatre has con- 




INTERIOR OF THE NEW JOLSON THEATRE, 
59TH STREET, NEW YORK CITY 

showing the curved ceiling for acoustic effect, capacious 
balcony, and single, projecting box above the ground floor. 



sorted with an increased beauty. Simplicity 
in construction doing away with the fancy 
trimmings and architectural elaborations 
has given the modern playhouse a quiet 
dignity it never before attained. Today, 
more than two boxes are an excrescence, and 
even as few as this are going out of style. 
When they are erected they should always 
be above the ground floor so as not to 
obstruct the view. People find they cannot 
see well from such a distorted angle and 
most managers resort to the complimentary 
ticket to keep them filled. They are strictly 
a house 'trimming' and when they are 
empty even though the rest of the house 
is filled they look forlorn and out of place. 
"The famous 'peanut' gallery is a thing 
of the past. Some may regret its departure 
for sentimental reasons but certainly the 
single balcony, with its deep, commodious 
space, is a decided improvement. The 
seating capacity remains the same between 
1,000 and 1,200 although some of the 
larger theatres, like the new Jolson in 
New York, accommodate as many as 2,300 
persons. Today, no matter if a theatre 



Theatre Magazine, August, 19^3 

is 200 feet wide, no posts obstructing the 
view of the audience are needed to support 
the balcony. The heavy, steel-girder con- 
struction is strong enough in itself. 

"Theatre building is sometimes exciting, 
for it often happens that 
manager has a production on 
hand which must be brought 
into New York at once. 
These races against time oc- 
curred both in my building of 
the Ritz Theatre and the new 
Ambassador in New York. 
The former was completed in 
sixty-two days a record for 
theatre-building as far as I 
know and the latter was 
done in ninety days to be ready 
for the scheduled appearance 
of "The Rose Girl." Twenty 
years ago it required anywhere 
from a year to sixteen months 
to erect a playhouse. I have 
just completed two new thea- 
tres in Cincinnati on a rush 
order the completion of one 
being directed almost entirely 
by telegraph from my New 
York office. In July, I ex- 
pect to sail for England to 
construct a string of play- 
houses for an English syndi- 
cate. 

"In the past decade the 
theatre has evolved radically 
in its shape, from the long, 
deep horse-shoe of some 120 
feet, to the wide, flat audi- 
torium now used. What the 
future will produce in this 
respect depends to a large ex- 
tent upon the nature of dra- 
matic vehicles. As long as the 
drama remains in its present 
form the modern house has 
reached a point nearing per- 
fection, for its accommodation. 
Various attempts at a further 
refinement in the line of effi- 
ciency have been made, such 
as the revolving or 'table* 
stage, but on this side of the water at 
least they have proved unsuccessful. 

"The Century Theatre in New York, is 
one striking instance where the 'table' stage 
was constructed and, although many thou- 
sands of dollars ha^e been expended trying 
to make it workable, it has never been used. 
Heavy scenery and elaborate 'sets' often- 
times cause the electrical turning device to 
get out of order and break-downs at the 
last minute have proved it impractical. Be- 
cause of the strict rules of the stage 
laborers' unions, the same number of stage- 
hands are required and the small fraction 
of time saved in a mechanical revolution 
of the actors' platform is not worth the 
added expense. 'What we are approaching 
in playhouses is really a reversion to the old 
Greek stadium idea. In its cycle of evolu- 
tion the theatre is turning back to funda- 
mental principles. Perhaps, step by step, 
we shall again pass through the Eliza- 
bethan, Victorian, Colonial, and other 
stages of development, to a greater and 
even more remarkable edifice for the drama 
of the future. 



[99] 



Where Are The Favorites of Yesterday? 

Actors Never Die; They Simply Fade Away When They Have Strutted Their Little Hour 

By MARY F. WATKINS 



THERE is a story about a great tra- 
gedienne, who, because of ill-health, 
had to leave the stage a few years 
before the normal span of her career was 
completed. When she was well again she 
was too old, the world had wagged on 
without her, no one wanted her. The sor- 
row and disappointment turned her brain. 
She went to another city, where she began 
to pretend that she was still an idol of the 
public. She convinced herself that it was 
true, she spent her days in the galleries, 
planning new costumes for which she could 
never pay, her evenings dressed to receive 
reporters who never came. At last she was 
found dying in a tiny room of an obscure 
pension, dressed in the velvet robes of 
Marie Stuart. With her last breath she 
protested that she must get to a dress re- 
hearsal whjch must not be kept waiting. 

Happily, this tale is not typical of the 
actor's fate ; nevertheless, through the fabric 
of its sentimentalism, are woven strong 
threads of truth. Acting is at best the 
most evanescent of the Arts. Its greatest 
exponents, once they have strutted their 
brief hour, must trust the burden of their 
fame to the shifting memory of man. Even 
with the motion picture doing its bit for 
preservation, what can a flat black and 
white shadow ever tell of the vivid per- 
sonality, the finished technique, the thrill 
of a subtle inflection, the ineffable charm 
which makes a great actor or actress? 
So they rely on our memory of them, and 
how easily, to our eternal shame, we forget! 
Beyond a sentimental retrospection now 
and then toward the good old days and 
those who peopled them, we are too busy 
garnering new impressions to bother much 
about yesterday. And there is always the 
new generation standing jostling in the 
wings. And even Shakespeare observed 
that: 

"The eyes of men, 

After a well-graced actor leaves the stage, 
Are idly bent on him that enters next." 

JUST how complete a world in itself 
is the theatre, the mere Lyman can 
never know. When an actor once enters 
the stage door, he can never emerge. To 
be sure, his body may walk out for the 
last time some day, but his heart, or at least 
a vital part of his spirit stays behind to 
sniff the dear odors of scenery, canvas, and 
grease paint, to sit in the glare of the 
make-up mirror, to exchange banter in the 
green-room, for ever and ever. 

And those whose bodies walk out, what 
happens to them when they "simply fade 
away"? Fortunately, the majority have 
laid up their penny against a rainy day, 
although there are frequent examples 
where improvident lack of foresight, or 
more likely, unstinted generosity through 
lavish years, have created situations such as 
has recently been the pathetic case of that 
most charming person, Rose Coghlan. For 



the lesser player-folk whose sun has set, 
generous colleagues have established homes 
where care and comfort and ease are as- 
sured up to the very final curtain. There 
is ai large home not far from Manhattan, 
a happy, sunshiny old house looking over 
a bay full of ships. The household is try- 
ing to be gay, and they all say they are 
very contented with their lot. But look 
deep into their eyes one finds the same 
wistfulness that can be seen in the bronzed 
faces of the gentle old sailors in their snug 
harbor further down the road. 

AND the others . . ? They are not 
necessarily old, you know, in fact one 
should not dream of mentioning age at all 
in connection with any Thespian but 
those who, for one reason or another, have 
found it wise and best, or unavoidable, to 
become just ' "people" again ? They are 
all about you. Probably, Marguerite 
Gautier lives opposite your apartment, or 
you sit next to Becky Sharp at church. 
The dignified old gentleman buying a mut- 
ton chop this morning may once have worn 
the robes of King Lear, and doubtless, the 
aunt of that darling baby in the park was 
none other than a vanished Juliet. What 
a zest this gives to our everyday existence, 
how eagerly we should scan the faces of 
the crowd. But after the novelty of their 
new freedom wears off, there is not so 
much zest for them. 

To pursue, unimpeded, some cherished 
hobby, to assist in the rearing of other 
people's children, to write one's memoirs, 
these are only pale ghosts of a real day's 
work. So they search, search, search the 
printed page, secretly, of course, for some 
happy reminiscent mention of their names, 
for some assurance that they are not for- 
gotten. And sometimes, when the pressure 
is too strong, they come back, if only for 
the dear delight of saying good-bye once 
more. 

Through the busy years they have al- 
ways dreamed so happily of this very time. 
The Green Room, the Pullman smoker, 
rang with the re-iterated . . "Well, when 
I've got enough cash, I'm going to quit 
this dog's life and enjoy myself . . . I'm 
going to stop working before I have to, and 
have ..." Are these words eaten in 
bitterness, or fulfilled in joy? The odds 
are uneven. 

WITH Villon we plead desperately, 
"Where are the players of Yester- 
year?" for they are passing so quickly, be- 
fore we really get to know them. Here 
today, tomorrow they are gone. 

One is tempted to philosophize with a 
touch of morbidity. The mood is depress- 
ing, the sands of Broadway seem to shift 
and sink menacingly beneath one's very 
feet. Glancing about at the winking signs, 
we are assailed with an hysterical desire to 
rush frantically from one theatre to an- 



other; to stare hard at Margalo Gilmore 
so that we sha'n't forget that innocent 
smile, to hear Helen Hayes sing "Happy 
Days" once more and imprint it on our 
memories before she too is snatched from 
our midst to a place by the fire-side. Let 
us beg Ernest Lunt not to even risk leav- 
ing the theatre to go home for dinner, let 
us boldly rush in and lock Richard Bennett 
in his dressing-room, removing the key. By 
all means we must prevent Doris Keene or 
Laurette Taylor from approaching a Steam- 
ship Office. The movies cannot have caught 
them all, old age can claim but a few of 
them, while surely, surely, the Comedy 
cannot be ended for any of them! 

Where is Annie Russell, Percy Haswell, 
Marie Tempest, Viola Allen, Olga Nether- 
sole, Robert Edeson, Elsie Leslie, Forbes 
Robertson, Ellen Terry and the divine 
Sarah ? to mention only such names as 
spring casually to mind at a moment's de- 
mand. 

COME, like Maxine Elliott, are trying 
>J out some dear experiment in domesticity. 
She, you know, has a quiet little house in 
Herefordshire, where she is never lonely or 
dull because of her sister Gertrude's chil- 
dren, especially Blossom, her favorite. 

Some marry with acumen, as well as, 
it is to be hoped, with love, and become 
absorbed into new careers as varied and 
diverting as that which they have aban- 
doned, as in the case of the English Vesta 
Tilly, who is now Lady de Frees. 

There are others who come back spor- 
adically, unable to make any farewell really 
the last, but between times carefully wipe 
off all trace of grease paint, and play like 
children. William Gillette has a wonderful 
house-boat as his toy. 

Again, others go back to the town of 
their birth, and are never heard from more, 
as the glorious Emma Fames, whose beauty 
and voice dominated many a Metropolitan 
season, now hiding her light under a 
farmer's bushel, in a remote Maine town. 

Other wise ones retire while in the very 
fullness of their powers, and perhaps go 
in for production or science of allied activi- 
ties, as has Maude Adams, who heads a 
special laboratory for the development and 
perfection of a phase of the motion picture 
industry. 

We might easily name you a score 
more, but why? They do not seek pub- 
licity in their new roles. But all of them, 
great and small, busy at hum-drum tasks 
or reclining restlessly on their beds of 
well-earned laurels, are listening listen- 
ing eagerly for the broadcasting of our 
cry of, "Where and how do you fare?" 
on the radio of our remembrance. If 
their answer comes, "All's well !" the 
chances are there will be a postscript, 
"Will be back next season!" but from 
some there will be silence. 



[100] 



Theatre Magazine, August, 1911 



Sir Anthony Absolute (Tyrone 

Power) and Captain Absolute 

(Robert Warwick). 



Captain Absolute and Lydia 
Languish (Violet Heming). 



Bob Acres (Francis Wilson) 




(Left to right) 
David (James T. 
Powers), Sir 
Lucius O'Trigger 
(John Craig), Mrs. 
Malaprop (Mary 
Shaw), Sir An- 
thony Absolute 
(Tyrone Power), 
and Fag (Henry 
E. Dixey). 



THE PLAYERS' CLUB ALL STAR PRODUCTION OF "THE RIVALS" 



Enter the Monkey Man 

Carefully Manicured Stage Hero Quite Eclipsed by More Primitive Types 

By CAROL BIRD 



ARE we experiencing an atavistic 
throw-back? Are we reverting to 
primordial instincts? Is civilization 
boring us, and do we long for things prim- 
itive? Are these suppressed desires creep- 
ing out in even our entertainment ? Certain 
recent Broadway plays seem to reflect a 
tendency to glorify life as it was lived in, 
sa y Cave-Man days? Indeed, almost 
have we become Darwinian in our play- 
taste. Monkey-men are jibbering their 
way into the theatrical stronghold. The 
uncouth male the Roughneck is having 
his innings. He it is who is the Idol of the 
day. Either the Monkey-man or the Cave- 
man. It's a toss-up between the two. 

Take "Tarzan," for instance! And 
Liliom! And the latest of all these "The 
Hairy Ape." It certainly would seem that, 
at least, for a certain space of time, the 
formerly popular stage hero will remain in 
the background. The handsome, suave, 
well-groomed leading man he of the 
magnetic personality and beguiling ways 
is out of the picture, at least, temporarily. 
He is gruel compared to the beefsteak 
hero of the day. He is febrile. He is in- 
effectual. He is namby-pamby-sugar-candy 
in contrast to the Hell s Bells type. How 
strange he would appear standing up, in 
his dress-suit, with his manicured nails and 
his polished pumps beside the new Male of 
the theatrical species the Hairy Ape, for 
instance. Or Liliom! Liliom wore the 
clothes of a roustabout, a rowdy, a tramp. 
What would you expect of a: merry-go- 
round barker? He used rough language, 
and he liked his women weak and his 
liquor strong. And he certainly was popu- 
lar with the ladies. Of course, it is true, 
that his enamoritas were not accustomed to 
being wooed by white-collared youths who 
smelled of lilac toilette water and who 
parked themselves at the Ritz every day. 
But, nevertheless, even though he did not 
possess social polish nor a fastidious ap- 
pearance he won high favor with those of 
the opposite sex. And, he was the Hero 
of the play! 

THE Hairy Ape doesn't even wear the 
clothes of a rowdy. ' In fact, he wears 
scarcely any clothes at all. He is a stoker, 
and the firemen's forecastle of an ocean 
liner isn't exactly the proper place to do 
the House-of-Kuppenheimer act. ,He is a 
rough, greasy, blasphemous devil. He is 
ignorant, illiterate. Using his own words, 
he is a dumb-bell. He says: "Aw gwan, 
ding-blast, dod-burn you" (we substitute 
and expurgate, fearing editorial wrath if 
we stick to actualities) "watcha pull all that 
tripe for?" 'Tripe' means talk. He re- 
fers to women as skirts a nasty little 
underworld appellation. He throws a 
shovel at a lady, and tells her to go well 
straight to perdition. He has a counte- 
nance so horrible that, quoting a stoke-hold 
companion of the Ape's, he "scared the 



skirt outa a year's growth," when she only 
so much as glanced at his face. Every 
one tells him he looks like a hairy ape. 
And he does. He visits the Zoo, and gets 
on speaking terms with a huge gorilla. 
When he asks the gorilla a question, the 
big animal rumbles a reply, so, evidently, 
the beast and the human ape speak the same 
language. 

PONDERING over this question of the 
monkey-man and his ascendancy in 
things theatrical, we ventured to seek out 
the impersonator of "Yank" Smith, the 
stoker, the protagonist of "The Hairy Ape," 
Eugene O'Neill's comedy of ancient and 
modern life. We intended to ask him 
right out: Why is the Ape-man getting 
such a hold in the theatre? Why is he a 
present day type? Why is he crowding 
the orthodox stage hero from the boards? 
We found "Yank" Smith (Louis 
Wolheim) in his dressing room at the 
Plymouth Theatre making up for his role 
as the Hairy Ape. Having been born in 
a dressing room, as it were, we thought we 
were immune to startling make-ups. We 
have seen witches, Mr. Hydes, Svengalis, 
mad-men, snarling hunch-backs, malevolent 
Strindberg ladies, devilish magicians, and 
all sorts of wretched ghouls in the process 
of being created before make-up mirrors, 
and never twitched an eyelid. But we 
had yet to have our serenity shaken by a 
monkey-man in the making. After taking 
one glance at the Hairy Ape we were in- 
clined to cover our face with our hands, 
and flee, as did Mildred Douglas, the 
white-gowned lady in the play. But genial, 
kindly Arthur Hopkins sat beside us on a 
couch, and, feeling that he would prove a 
sure protector, we relaxed a bit, and watch- 
ed the Hairy Ape apply his make-up. He 
wore a grimy, woolen undershirt, a torn, 
soiled old pair of trousers, and heavy, dusty 
old black brogan shoes. His hands were 
dirty, his nails were dirty, and his face was 
all smeared up with streaks of black, a 
sickly, streaked pink, and a verdigris green. 
His hair was ruffled and upstanding and 
shaggy. The black hair on his powerful 
chest and arms and neck was much in 
evidence. 

HE looked every inch a stoker. We 
asked him how long it required for him 
to make-up, trusting that he had already 
done all the terrible things he could to his 
face and that there would be no other 
added horrors. 

"Bless you," boomed the Hairy Ape, "it 
takes me only about ten minutes. In fact, 
I could go on without any make-up. This 
part doesn't require it. All I need to be 
is rough and dirty in appearance. Now if 
I were one of your leading men the type 
you want to contrast me with in my role 
of the Hairy Ape, I'd probably be fiddling 



around here for a couple of hours. Hon- 
estly, I never met any one so meticulous 
about make-up and personal appearance as 
the average leading man the average stage 
hero. Why, it would bore the life out of me 
to fritter away several good hours before a 
mirror, amid a whirl of cold cream and 
rouge jars. One works hard enough on 
the stage without putting in so much extra 
time twirling a powder puff off stage." 
The Hairy Ape smeared some black grease 
over his already smudged-up hands, and 
answered a question: 

"Yes, I do believe the husky and more 
virile type of man is coming into favor as 
the highlight of a cast. The public is tired 
of froth. Tired of pretense. It wants 
realism. Actuality. It does not particu- 
larly care whether a man is good looking 
or nattily attired as long as he has charac- 
ter. And the public appears to care more 
now for a play with a big idea a meaty 
play than for a stunning appearing lead- 
ing man. Yes, the play's the thing these 
days! Why, when I first read this play 
of Mr. O'Neill's I never stopped to think 
that I was scheduled to look like a human 
monster in it! I merely saw the thing as 
a whole as a play as a stage vehicle, 
and myself as merely a protagonist a 
character who would voice the written 
words and ideas of the playwright. 

AND at first I had misgivings! I said 
to myself: Dare I undertake this im- 
portant piece of acting I, who have played 
only six other roles in my life ; I, who have 
only had six years' experience on the stage. 
And so I told the playwright of my doubts. 
I frankly said to him : 

"This is a thunderous thing. It rings 
like bells of brass! It clangs! It has stuff 
of iron. Why, an actor, no matter how 
talented he be, would have to reach up 
and grope to grasp this thing. It sweeps 
me off my feet. It leaves me breathless. 
And it leaves me wondering whether I 
ought to undertake it. But I'll try it out. 
And I'll try my best to grasp the spirit 
of your play. But, after a few weeks of 
rehearsal, if I appear to be unsuited for 
the role, do not hesitate to tell me. I will 
not mind the time wasted." 

Then, after our usual tactful fashion, 
we blurted out : 

"How did it happen that you, with your 
brief stage career, were selected for this 
thunderous thing, as you call it?" The 
Hairy Ape reverted to his stoker parlance: 

"Say, take a slant at this map! Doesn't 
this face count for something? My Lord, 
is this layout designed for much else than 
a role of this kind? Be honest. You 
don't think I could exactly play a Prince 
Charming role, do you? It seems that 
Mr. O'Neill had watched me in a previous 
(Continued on page 120) 



[102] 



Tktatrt Magatine, August, igu 



















Alfred Chenej Johnston 



MARTHA MANSFIELD 



After deserting the motion picture world for a season in vaudeville, Mi<ss Mansfield K apain lending her rare 
beauty to the screen. Her next picture will be "The Queen of the Moulin Rouge." 



[103] 



Pattf s CastleA Shrine of Art 

Craig- Y-Nos to Perpetuate the Memory of the Great Singer 



CRAIG-Y-NOS, the beautiful home 
of the late Adelina Patti, near the 
mountains of Breconshire in South 
Wafes, with its picturesque lodge, miniature 




By CHARLES H. DORR 

The castle of Craig-Y-Nos is built of 
stone and is principally of the Tudor style 
of architecture, a portion of it being cas- 
tellated, with clock and flagstaff towers, 
the former including 
a chime of bells. 

In the background 
rises massive Brecon 
Mountain towering 
high in a picturesque 
country, and from 
its heights a com- 
manding view is ob- 
tained of the vast 
estate of Craig-Y- 
Nos and adjacent re- 
gion. Here among 
the hills and valleys 
of this inspiring 
country, Baroness 
Cederstrom (Mad- 
ame Patti) lived for 
many years and en- 
tertained numerous 
friends who jour- 
neyed from far dis- 
tant land to the por- 
tals of Craig-Y-Nos. 
The castle with 
its gables, towers, 
oriels and bays, a 
landmark in this his- 
toric country of 
South Wales, is ap- 



front of the castle is a dolphin and stork 
bronzed fountain surrounded by well- 
trimmed lawns and bed of flowers. The 
main entrance to the castle is through a 
Gothic stone doorway leading into the ves- 
tibule, with light filtering in from a sky- 
light in the roof, and with elaborately 
carved oak ceilings. Passing through the 
entrance hall with its half glazed oak doors 
the visitor is ushered into a suite of recep- 
tion rooms, including a boudoir, music and 
billiard room, and the drawing room, on 
the northeast corner of the castle. 

The library of Craig-Y-Nos is entered 
from the hall and three of the windows 
command glimpses of the mountain scenery 
and the highly cultivated grounds of the 
estate, dotted with gardens studded with 
rhododendron, Hawthorn and other ever- 
greens. 

Through a plate glass door one enters 
into the palm court overlooking the river 
and valley, with arched roof and walls dec- 
orated with eight panels on canvas repre- 
senting birds, games and flowers. Adjoin- 
ing this court is the Craig-Y-Nos conserva- 
tory. 

One of the most interesting features of 
Craig-Y-Nos is the miniature theatre at 
the northwest corner of the castle, which is 
entered from the billiard room through two 
pairs of oak-panelled, double doors. The 
auditorium is decorated in panels of gold 
on blue ground, with geometrical and floral 



Craig-Y-Nos Castle, the Welsh 

home of the late Adelina Patti, 

who spent about $500,000 on 

the place. 

theatre, library and ballroom, has 
been purchased by the Welsh 
Memorial Association, and will be 
made a shrine to perpetuate the 
memory of the gifted singer who 
in by-gone years, thrilled thou- 
sands with the wondrous melody 
of her voice. 

Madame Patti's castle in Wales 
is situated in the upper part of 
Swansea Valley, a few miles from 
the source of the River Tawe, 
and is in the heart of romantic 
mountain and valley scenery at 
Breconshire and within the par- 
ishes of Ystradgynlais Higher, 
Glyntawe and Traian - Glas, 
quaint Welsh names, but doubt- 
less, familiar to the diva and her friends 
who assembled there to partake of her hos- 
pitality and to enjoy the keen bracing air 
of this highland country, with its vistas of 
lake, river and winding valleys. 




THE MINIATURE THEATRE OF CRAIG-Y-NOS 

Forty feet long by twenty-six feet wide, this tiny auditorium holds 150 persons and 
has often been the scene of brilliant entertainments. 



proached from the main road between 
Swansea and Brecon by a lofty, arched car- 
riage entrance, guarded by a stone lodge 
containing three rooms. 

In the middle of the carriage sweep in 



designs, and is forty feet long by twenty- 
six feet wide and twenty-four feet high. 
The massive cornice is supported by ten 
Corinthian columns with gilded capitals 
and bases. 



[104] 



Tkratre Magazine, Auguit, lyii 



THE AMATEUR STAGE 



By M. E. KEHOE 




(Above) 

This scene from Lawrence Langner'i "Sire de Male- 
troit's Door," as presented by the Poughkeepsie 
Community Theatre, illustrate! the sense of height 
and dignity, possible on a small stage. Stonegray 
curtains and flats were combined, the door was a 
bright green and touches of deep orange were intro- 
duced in the shields and tapestry (burlap painted 
with scene paint and flecked with gilt.) The setting 
by Frank Stout 





(Center) 

A successful combination of 
gray curtains and flats, a 
stained glass window of 
oiled paper, which shed an 
opalescent light onto the 
stage, a high Italian mantel- 
piece, a dull gold screen, a 
few pieces of simple furni- 
ture, and you have the rich 
and pleasing setting which 
Frank Stout gave to this 
scene from "Daddy-Long- 
Legs" at the Poughkeepsie 
Community Theatre 



Scene from Francois Coppee's "The Violins of Cremona," produced by the 

Harvard Dramatic Club, which several years ago inaugurated a new policy, 

in accordance with which only plays by foreign authors, not previously given 

in this country, are selected for production 



[105] 



The Poughkeepsie Community Theatre 

An Outgrowth of the Vassar Workshop 



rrWE Poughkeepsie Community Thea- 
tre, a long cherished ideal of Miss 
* Gertrude Buck, Professor of English 
at Vassar College, was founded by her in 
the fall of 1920. It was, in a sense, the 
outgrowth of her course in dramatic writ- 
ing, for this group, organized as The 
Vassar Workshop, had gathered some very 
simple stage equipment and was producing 
the original plays of its members when it 
was decided to turn over to the City of 
Poughkeepsie this equipment as the basis of 
a Community Theatre and to trust to this 
Theatre the semi-annual production of the 
best Workshop plays. 

The Theatre from the first, save for this 
co-operating spirit with the Workshop, be- 
longed to the citizens of Poughkeepsie, not, 
as is the common assumption, to Vassar 
College. It is run for and by the citizens, 
and when members of the college group 
participate, as they most generously do, it 
is merely as representatives of one unit of 
the City. 

T'O the surprise of even the most hopeful, 
' the project of the Theatre met the 
warmest welcome. Poughkeepsie, with a 
reputation for conservatism, evinced 
marked enthusiasm for this new factor in 
community life, an enthusiasm which de- 
veloped with each production. A home was 
offered the Theatre in Vassar Brothers In- 
stitute, a roomy building with an audi- 
torium seating five hundred, erected in 
1883 by one of the Vassar family and dedi- 
cated to the Arts and Sciences. The en- 
dowment of the building precluded any 
sale of tickets at its doors, but, by a system 
of yearly supporters' tickets, obtainable by 
donations of unstipulated amount, the 
budget of the Theatre was met. 

The original schedule of the Theatre 
called for a monthly change of both the 
evening or adults' bill and of the children's 
bill; the former playing the first two 
Fridays and Saturdays in the month, the 
latter every Saturday afternoon. These 
strenuous requirements were valiantly met 
by Miss Harriet Miller, the Director, a 
1921 Vassar graduate and Workshop mem- 
ber, and by the end of the year the Thea- 



tre was an unquestionable success, assured 
the loyalty of all factions in the Com- 
munity. With great optimism Miss Buck 
planned for the season to come. Through 
the generosity of Charles Rann Kennedy 
and Edith Wynne Matthison, supported 
by the pupils of the Bennett School, a bene- 
fit performance -of "Electra" was presented 
in June, a charming production given on 
one of the beautiful estates outside of 
Poughkeepsie, and yielding the Theatre a 
most substantial sum. Due to an urgent 
call abroad, Miss Miller had handed in her 
resignation, but the services of Mr. and 
Mrs. Frank Stout, as co-directors had been 
obtained for the coming season. Then, 
when all was arranged, calamity came, for 
in August, worn out by her ceaseless en- 
deavors, Miss Buck was stricken with an 
illness which ended in her death. 



HTHE greatest tribute to her organizing 
power was the fact that the Theatre 
managed to survive. And survive it did. 
The community rallied to the support of 
the new directors and the second season 
has developed much as planned. Features 
of it have been the decided expansion of 
the scenic work under the direction of 
Frank Stout, and the coincidental instruc- 
tion of the group of young boys who assist 
him both in construction and scene shifting. 
An innovation was the establishment of 
two dancing groups with instruction offered 
gratis to the children of the community. 
The leader of one is a Vassar girl, a pupil 
of Chalif, and the other a local girl ; both 
donate their services. A marked improve- 
ment in lighting is due to the volunteer 
services of a young electrician who, after 
a strenuous day's work, still finds the spirit 
and energy to give his best. 

The Theatre -has, likewise, tried to ex- 
tend its work beyond its actual walls, to 
further its value to the community. Thus, 
it gave an extra performance of its produc- 
tion of Jean Webster's "Daddy-Long-Legs" 
at Vassar College for the benefit of the 
Vassar Endowment Fund. The combina- 
tion of a play about Vassar, written by a 
Vassar graduate, presented for Vassar by 



an organization that is the outgrowth of 
Vassar made the occasion a unique one. The 
Community Theatre also presented one of 
its bills at the Hudson River State Hospital 
for an audience of inmates, and likewise 
journeyed with that quaint little one-act 
play, "Joint Owners in Spain," into a rural 
district for the benefit of maintaining a 
visiting nurse for that locality. 



TN the Children's Theatre, due to a desire 
to avoid hasty production and an over- 
taxing of the children, the number of bills 
has been reduced this year, but as each bill 
is presented six times, more children are 
given the opportunity of seeing every play. 
Tickets for these performances are dis- 
tributed gratis through the schools. Com- 
munity singing is held between the acts 
under direction of volunteer song leaders, 
and there is always a hostess with her own 
group of assisting ushers, to maintain order 
at the matinees. Two children's plays have 
been given thus far, both premiere per- 
formances. The first was "Helga and the 
White Peacock," a charming little fantasy 
by Cornelia Meigs, now being published by 
the MacMillan Company; the second, 
"How the Princess' Pride was Broken," 
by Evelyn Emig, an unpublished dramati- 
zation of one of Hans Andersen's delight- 
ful tales. Both were distinctly worth- 
while and unquestionably popular. The 
matinee audience inevitably begins gather- 
ing some two hours before the performance, 
and, at rough estimate, six thousand chil- 
dren have been admitted during the season. 
That the evening performances are popu- 
lar is evidenced by the fact that for the 
last two months crowds up to two hundred 
have been turned away at every perform- 
ance. These crowds are, however, not 
made up of supporters but of those who, 
due to a rule of the Institute which says 
that after ten minutes before a perform- 
ance the public at large must be admitted 
if seats are left, have, waited hopefully if 
not altruistically. It has been one feat to 
arouse this interest, but when these crowds 
become active supporters the future of the 
Theatre will be assured. 






The Harvard Dramatic Club Introduces Foreign Plays 



(CONSIDERABLE interest has been 
aroused in the East by the carrying 
out of a rather unusual policy, which was 
put into effect a few years ago by the 
Harvard Dramatic Club; that of produc- 
ing only plays by foreign authors, not pre- 
viously given in this country. 

In line with this policy they recently pro- 
duced "TheWitches' Mountain," and "The 
Violins of Cremona," both of which were 
received with enthusiasm in Cambridge and 
Boston, as well as in the neighboring towns 
of Lowell, Lynn and Wellesley. 



Translated from the Spanish, "The 
Witches' Mountain," by Julio Sanchez 
Gardel, is representative of the Argentine 
National Theatre at its height, since it is 
practically the last of the well-known South 
American "gaucho plays." The Club is 
a pioneer in this field, since it is the first 
Argentine play to be given in this country. 
"The Violins of Cremona" was a trans- 
lation in verse of Francois Coppee's play, 
by a recent Harvard graduate and for- 
mer member of the Harvard Dramatic 
Club. 



Club approaches an "all student 
production" as nearly as it is possible to 
do so. The scenery is designed, constructed 
and painted by students; the acting is en- 
tirely by members; the lighting is worked 
out by undergraduates and the finances 
managed by the students, the productions 
more than paying for themselves. 

The only outside help comes from a pro- 
fessional coach who picks and trains the 
cast, the plays being selected by the Execu- 
tive Committee of the Club, advised and 
aided by Professor George P. Baker. 



[106] 



Theatre Maoasine, August, 1921 




Under the direction of Pro- 
fessor Samuel A. Eliot, 
many noteworthy prodnc* 
tions have been given at 
Smith College. 



The two scenes (Upper and 
Center) from Brirux'i 
"False Gods," are illustra- 
tive of his carefnl attention 
to every detail of setting 
and lighting. 




(Left) 

The French Department of 
Smith College celebrated the 
tercentenary of the birth of 
Moliere by giving two of 
his plays: "Le Halade Im- 
aginaire," and The Cheats 
of Scapin," in which both 
students and faculty par- 
ticipated. Between the two 
plays the bust of Moliere 
was crowned with a laurel 
wreath. 



The Drama At Smith College 



[107] 




Young women of Jackson- 
ville, ia The Fountain cf 
Youth, a dance drama i!.- 
picting the old legend 1 i 
Ponce de Leon, in th : 
Florida Historical 
Pa:rear.t 



The Woodward Studio, Jacksonville, Fla. 



Community Dramatic Activities 



By ETHEL ARMES 
Community Service, Incorporated 



THE Florida Historical Pageant pre- 
sented at Jacksonville during Easter- 
tide was a great community achieve- 
ment. It aroused a civic spirit and 
patriotism throughout the state, welding 
the cities, towns and counties taking part in 
one common interest. From beginning to 
end this dramatic review of Florida's his- 
tory was singularly beautiful and impress- 
ive. Out of its planting has come a new 
impetus for the study of history, art, litera- 
ture, music and drama and a realization 
by the people of Jacksonville and the other 
Florida communities concerned, of treas- 
ures riches hitherto undreamed of of 
their own hearths and homes. 

Thus it has come to mark in greater 
degree than most pageants do, an important 
point in the history of the city and equally 
of the state. Three thousand actors, men, 
women and children, took part. It was 
the largest and most artistic spectacle of its 
kind ever attempted in Florida. An extra- 
ordinary enthusiasm attended the entire 
production. 

The people of Jacksonville themselves 
initiated this great pageant. Mr. Lee 
Guest, president of Jacksonville Community 
Service, was at the helm throughout. The 
Pageant Association, of which Rev. Mel- 
ville E. Johnson was president, worked 
through three large community units: the 
Community Music Association, Community 
Leagues, Community Players and all 
organizations in Jacksonville, co-operating 
with the State of Florida. Nina B. Lam- 
kin of the Dramatic Department of Na- 
tional Community Service, was the pageant 
director. Miss Lamkin adapted the his- 
torical material compiled by the local His- 
tory Committee for dramatic production. 

Authentic drawings of the costumes of 
the early Indians of Florida were secured 
from the Smithsonian Institute, Washing- 
ton, D. C., together with accurate and corn- 




Mr. Frank Widemar, State's Attorney of 
Florida, in the character of Ponce de 
Leon, in the Florida Historical Pageant 



prehensive descriptions of ancient Seminole 
ceremonials. The Florida Historical So- 
ciety and the Jacksonville Public Library 
supplemented every detail of the work. 
Mr. J. Oliver Brison of the Community 
Service Bureau of Community Music, as- 
sisted Miss Lamkin. 



Green Corn Festival, a picturesque 
ceremony of early Indian life in the 
South, opened the historic cycle. 

All of the ceremonial and dance fea- 
tures, the poetic prologues and the various 
interludes, woven like scarlet and gold 
through the fabric of the pageant, lent a 
variety and a charm to the pageant pattern 
quite lifting it from the heavy historic. For 
example, there were the beautiful legends 
of the Spanish Moss and the Cherokee Rose 



interpreted in rhythmic dances and panto- 
mime. Other flowers too, of Florida : 
magnolia, yellow jasmine and water 
hyacinth, were pictured by maids in cos- 
tumes like the flowers designed under the 
direction of Mrs. Lee Guest, Mrs. E. R. 
Hoyt, Miss Marjorie Currier, Mrs. Frank 
Genovar. The Fountain of Youth, con- 
ceived by gracious dancing maidens in mist- 
like draperies, was very stuff of dreams. 

The pageant was given in Florida's most 
enchanting month April on the banks 
of the historic St. Johns River. All through 
the groves there in the wide expanse of 
ground at the foot of Edgewood Avenue, 
the trees hang thick with moss. Weird 
and fantastic they rise from the white sands 
in striking silhouette against the blue 
water. Never in all America was there 
such a place for pageant scenes. 

The back stage was the river. Here the 
boats landed; the Indian canoes at first, 
then old Spanish caravels, French and 
English ships of ancient times. The horse- 
men came out of the palms, out of the 
forest, Indian Scouts and guides and 
Spanish riders. Tiers of seats were built 
on a rise in the ground. The days were 
ideal golden weather. 

READING parts in the cast were taken, 
wherever possible, by direct descendants 
of the historic character portrayed. The 
part of Governor Duvall, first governor of 
Florida, was taken by his direct descendant, 
Pope Duvall. A beautiful young girl, Miss 
Creel Tinder Durrance, who danced the 
Inca Princess dance, was a descendant of 
Sir Francis Drake. The part of the Indian 
Chief, Ucita, was taken by R. L. Pullen; 
that of Ponce de Leon by Frank Widemar, 
State's attorney; Narvaez, by William 
Cordner; Juan Ortiz by Fra-ncis String- 
fellow; De Sota by Plant Osborne; Jean 
(Continued on page 128) 



[108] 



Theatre Magazine, August, 




Paul Grenbraux 



FASHION 



EVER since Miss Ethel Clayton first appeared on the screen we have been the 
greatest admirer of her unwavering taste in clothes. She has played in clever 

modern pictures, affording opportunity for the display of a wide range of 
frocks and we never remember when that taste failed us in any way. Details of 
hats, of furs, of jewelry, of shoes and stockings, were always charmingly worked 
out as well. 

We take pleasure, therefore, in presenting Miss Clayton in this ensemble so 
exquisitely exemplifying our contention. Figure the frock not as white, but as the 
palest pearl grey, and of chiffon beaded in the same tone. The skirt of it is long 
very long. Add a hat of grey chiffon, grey-feather-rimmed, and grey kid shoes and 
hose, and you have a costume of striking simplicity and beauty. 



[109] 



THE CHARMING COMBINATION 



OF MARILYN MILLER AND 



THE FRENCH FROCKS OF 



BOUE SOEURS 



Boue Soeurs rank supreme in thii 
type of hand-embroiderc'l frock, 
done in their French workshop! on 
the other side. Here peach-colored 
taffeta is combined with hand-em- 
broidered lingerie aproni and 
bands, and edgings of filet lace, 
the whole frock answering to the 
sparkling title of "Bengale" 




And "Libellule" is the name of this gown, which 
suggests at once the bright summer dragonfly and 
his shimmering blue wings in its tones of blue and 
silver metal cloth flounced with metallic lace, and 
garlanded with hand-made flowers 



Our third frock is called "Coppelia," connoting the 
idea, we take it, of "on with the dance." There is 
"joy nnconfined" certainly in its bouffant side dra- 
pery, and its coloring of rose taffeta and gold metal 
lace, embroidered with hand-made colored roses 



[110] 



Thtatre Magaiiiu. August, 19*1 




GRACEFUL FEATURES OF 



THE MONTH IN SLEEVES 



AND SIDE DRAPERY 



Sure-fire for grace 
lief in thii draped 
gown of black crepe, 
worn by A i 1 e e n 
Hamilton of "Coed 
Morning, Dearie", 
whoie large loose 
ileevet heavily 
weighted with 
fringe, form a cape 
of Spanish effect 



White Studio 





All the pastel tints are subtly blended in 
the gown of orchid chiffon worn by Sidney 
Shields, shortly to go on tour in "The 
Hindu." Wide crushed satin ribbons in 
pastel shades are veiled beneath the bod- 
ice to emerge as sash streamers at the 
sides: the beaded blossoms on the ikirt 
are also in pastel hues 



Adele Holland, who furnishei 
the youth and beauty for "Part- 
ners Again/* wears in it this 
very lovely coat of gray faille, 
the feature of which is the 
huge sleeves elaborately em- 
broidered in beads of cut steel 



[111] 



In Place of the Commutation Ticket 

Reliability of Modern Cars Makes Country Life Possible for Actor 







The new Six-40 Moon touring car is not 
a so-called "little six," but a husky man- 
ize car of distinctive appearance, yet 
compact and ingeniously fitted, and of- 
fered at a price within the reach of the 
average pocket-book. 



HOW times have 
changed! It 
seems but yes- 
terday since the popu- 
lar concept of the stage 
celebrity's life was, nl 
that it was one of con- ill 
tinual eating, drinking, 
and gaiety in the hotels 
and restaurants of the 
theatre district. One's 
name in electric lights 
must, according to pro- 
vincial ideas, demand 
one's presence where 
the lobsters, the bird 
and the bottle held 
sway. 

How different from 
the fact! 

Down Long Island 
way, up through West- 
chester, you will find 
houses big and little, 
some with broad acres 
of land and many a one 
with its front lawn 
and back yard, with its 
flower patch or vege- 
table patch, but always with its garage. 

While visiting in Bayside, Long Island, 
last Autumn, 1 was rather impressed with 
the kindly old handiman, spectacled and 
overalled ; his touseled gray hair pushed 
back now and then by a hand seamed by 
chores. It was Lightnin' in real flesh and 
blood. It was Frank Bacon himself en- 
gaged in doing odd jobs round his modest 
place, but a short way from the shores of 
Long Island Sound. It really would be 
hard to visualize Mr. Bacon, surrounded 
by ban vivants, waving a champagne glass 




This rear view of the latest Chandler car, cne Koyal Dispatch, discloses a 

serviceable trunk rack with a row of vertical nickeled bars that afford 

protection for the body finish. 



on high in a toast to Lord knows what. 

If one is in the neighborhood of Man- 
hasset or Port Washington, chances are 
strongly in favor of meeting on the road a 
kindly gentleman, , of middle age with all 
of the ear marks of the banker a serious 
business man stepping briskly along, en- 
gaged in a constitutional ; anyone round the 
place would tell you that it is Henry 
Dixey, the same Henry Dixey that has for 
years set a standard of seriousness in his 
work that would be hard to beat. 

Any fine morning if one will station 



A very sporty new model of a Loco- 
mobile 4-passenger with disc wheels and 
the novel feature of a windshield for the 
occupanta of the rear seat, which instead 
of being an accessory ii made as an 
integral part of the car. 



himself on the North 
Hempstead Turnpike, 
one will most likely see 
a stern looking chap of 
not too serious mien, 
holding on for dear life 
to a pipe of huge size, 
and driving a smart 
roadster dangerously 
near the speed limit. 
It would most likely 
be Frank Craven whose 
"First Year" should 
convince anyone that 
his photographic accu- 
racy in depicting the 
minor problems of do- 
mestic life was gained 
at first hand. 

Down in Great 
Neck, one may fre- 
quently observe a 
splendid type of coun- 
try gentleman, who 
from all outer appear- 
ances had but slight 
contact with the the- 
atre or its activities, a 
type which, by the way, 
is becoming more noticeable every day in 
our extra urban communities. If one 
looked at him more closely, and is at all 
familiar with "Who's Who," he would 
discover that this mild person is none other 
than George M. Cohan. 

While in Great Neck, a drive of half 
an hour would disclose such men as Jack 
Hazzard, Arthur Hopkins and probably a 
score of others whose names are as well 
known as New York itself, and so with 
the other phases of the stage, John Philip 
Sousa, as much interested in his horses 



[112] 




To add comfort and snap to short motor trips are these 
accessories: a cleverly contrived hat-box, a patent leather 
carry-all, and a soft light-weight Vicuna rug in the con- 
trasting tones of blue-grey and tan. From B. Altman & Co. 



A front view of the Chandler Royal Dis- 
patch showing the wind deflectors, the dis- 
tinctive aluminum steps, and the smart touch 
achieved by the auxiliary wire wheels car- 
ried on either side. 



and cows, his beautiful place 
on Manhasset Bay, Port 
Washington, as any farmer 
might be. Kubelik not only 
lives the part, but dresses the 
part of a Long Islander of 
fifty years ago. His place at 
Sands Point is both modest 
and retiring and his presence 
in the neighboring village of 
Port Washington never pro- 
claims the great artist that he 
is. One day, quite recently, 
being in need of some violin 
strings, he entered the local 
drug store which carries a 
miscellaneous stock of things, 
and asked to see some E 
strings. The proprietor's son, 
who, by the way, is musically 
inclined, when the purchase 
was made, addressed this mo- 
dest looking customer politely 
but very inquisitively, "You 
play the violin, I suppose?" 
"Yaas," said the customer, 
"I feedle a leetle beet." And 
there is no doubt that he does. 
And so, up through West- 
chester and for that matter 
in every suburban community 
around New York, you will 
find the great men and great 
women of the dramatic and 
concert stage, living lives as 



normal and as quiet as those who have for years been their critics. 
If one were to inquire into the real cause of this great trans- 
formation in the lives of the professional people, one would 
immediately discover that the easy access to suburban places as 
provided by the motor car, has given these men and women, whose 
lives are arduous ones, the opportunity of getting away from the 
city, which in most cases, they detest. It may surprise our friends 
from beyond the Hudson, when we say that it is rarely indeed 
one will see the prominent actor or actress participate in the night 
life of New York. The bankers, lawyers and doctors of both 
sexes, business men and business women, would be found in the 
night places much more frequently. When after the performance 
the motor pulls up to the stage entrance, one can hear instructions 
given to the driver, in always the same fatigued but determined 
tone, "Home." . 

It speaks well indeed for the reliability of the motor that the 
actor or the actress can use it at all in going to and from .the 
theatre. The average man or woman with a business engagement, if 

unfortunate enough 

__^^^^^^^^^Bi^te, to be late, would 

keep but one or at 
the most a few people 
waiting, whereas the 
man and woman of 
the stage would keep 
thousands waiting. 
So do we find people 
of the stage as the 
ones who are most 
insistent on design 
improvements, their 
cars are usually the 
last word in color, 
line, etc., but reli- 
ability must come 
first with them, for 
on the reliability of 
the motor is depen- 
dent the patience of 
a multitude. 





Other indispensable accessories for the smart motor are the patent leather 
bags for an extra hat, the individual cushion plaided in black patent 
leather and grey suede, and the leather thermos cases, in pint and quart 
sizes, with their gay enameled bottles and their food containers. From 
Mark Cross. 



[113] 



Theatre Magazine, August, 1921 



Of the many lovely homes in 
the Professional colony at 
Great Neck, that of the pop- 
ular singing comedian stands 
out because of its simplicity. 
Its delightful doorway is one 
of its chiefest charms 



The Home of John 
Charles Thomas 



Photos: John Wallace Gillief 




[114] 



Theatre Magazine, August, 




Where Rita Weiman Sets 
Up Her Household Gods 



Decorations by Watterson Lowe 



The picture at the end of the room, "The 

Grim Comedian," is an original painting by 

Albert Herter, used in Mill Weiman's photo- 

play of the same name. 



Rita Weiman in the studio room where she writes 

the plays and scenarios that make her well known 

to theatregoers. She wears her "work" clothes 

a brocade Chinese coat and trousers. 




Perched high above surrounding roof tops, Rita Weiman's New York apartment commands 
a fascinating view of the East River, which she hat cleverly preserved by hanging jade net 
curtains at the windows because that color has a trick of not obtruding itself on the eye. 
Neutral tones form the background in her living room which depends for in high lights 
on the brilliant flashes of color in accessories and hangings. 



[115] 



The Promenades of Angelina 

She Promenades to the Washington Mews, the Quarter of the Artists, and Finds Smart 
Bohemia Ensconced at the David Bispham Club 



Drawings by Art Snyder 



I HAVE been amusing myself 
greatly these past weeks, what 
with the new summer shows and 
the roof gardens and trips out of 
town over Sundays. But on looking 
back it seems to me I have been 
spending the better part of my time 
at the David Bispham Club. 

That is the Club created recently 
in memory of the late David Bispham 
. . great artist and old darling that 
he was . . who died just a year ago 
this August. . . It was started to 
discover and foster promising young 
American talent of any kind what- 
soever, musical or dramatic or liter- 
ary . . see that it gets a hearing and 
so on. . And besides that it was to 
be just a jolly informal place where 
amusing people could drop in to 
lunch or tea or dinner and be assured 
that there would be amusing people 
also to meet and play round with. . 
A gay plan of that sort is quite 
simple on paper, but try and work it 
out actually. . 

And yet, luck being with the 
founders, the scheme has turned out 
just as planned . . I'm not going to tackle 
the working end of it here . . the promot- 
ing of talent and the concerts and exhibi- 
tions and so on . . but just the social end, 
though as a matter of fact the one dove- 
tails with the other. . And as far as the 
clubby end goes, it is a jolly place, the 
David Bispham Club . . not only jolly, 
but jolliest. . The jolliest place of its sort 
in town. . There is informality, the right 
kind, that goes with breeding and good 
manners . . one does meet amusing people 
. . in short, it is a real club, which is all 
the more extraordinary, considering that it 
is available for women. 
Most clubs for women are so 
deadly, "or don't you think 
so?" 

I used the word "luck" 
above. . But every true Freu- 
dian knows there is no such 
thing. . So shall we substitute 
the combination good-manage- 
ment to account for the club's 
success. These are the ingre- 
dients, as nearly as I have 
figured them out. . 

The setting is right to begin 
with . . the former studio of 
Paul Manship, down in the 
Washington Mews, right back 
of the Square, and opposite the 
studio of Mrs. Harry Payne 
Whitney. That is, it is in 
Bohemia and yet smart. Per- 
sonally I do like my Bohemian- 
ism mixed with a bit of chic, 
don't you? Bohemia, with 
porcelain fitted bathrooms in 




The David Bispham Club, down in the Washington 

Mews, presents a gay and inviting face, with its 

tucco exterior bright with window boxes and two 

sassy box shrubs before its brick doorsill 

the background, if you get what I mean . . 
like the wild mountain camps of the 
Adirondacks . . 

And then the setting being right, the 
studio itself inside has the right air of ease 
and informality. Of course a huge fire- 
place and a couch in front in the big room 
downstairs . . that for winter . . and 
for summer long French windows giving 
onto a garden quadrangle shared by all the 
studios in the row. . A large round table 
holds the center of the room, which every- 
one crowds up to at lunch and dinner 
time. . And there is the adept Celestin 




Uprtairs in the room where the small iiitirae concerts are 

given from time to time is a splendid Ampico that can 

furnish a jazz tune for a spin round the floor or the 

accompaniment for a song 



to French-cook and minister. 

Add to this mise en scene a list of 
members, headed by the beautiful 
Mrs. Oliver Harriman as President, 
and including such celebrities as John 
Drew, and Ethel Barrymore, and 
Florence Easton of the Metropolitan, 
and Frances Macmillan, her husband, 
and Robert deForest Brush, the fa- 
mous painter, and his son, Gerome 
Brush, the sculptor, and Madame 
Maeterlinck, and I-don't-know-who- 
all and . . Well, as we observe on 
Broadway, you've said something! 

And yet perhaps the real secret of 
the atmosphere lies in the two good- 
looking . . oh quite young . . 
bachelors . . residents at the Club, 
who act as hosts of mine inn in be- 
tween their working hours which as 
these concern artistic pursuits have 
more flexibility than those of the reg- 
ular business man's day. . They are 
perfect ducks these two . . and it 
makes it so nice, I tell them, because 
they are contrasted, like the brother 
Princes in the children's story-books 
. . one tall and dark . . and the 
other tall and fair. . The dark one is John 
Louw Nelson, son of the Bishop of Albany, 
singer, musician. . Yes, children, but cer- 
tainly . . there is a distinction . . all the 
difference in the world . . don't interrupt 
. . musician, composer . . do you happen 
to know the Columbia record of his setting 
of "In Flanders Fields" . . perfectly stun- 
ning! And the tall fair one is Neville 
Brush, David Bispham's favorite dramatic 
pupil. . Both Mr. Nelson and Mr. Brush 
lived in France and are perfectly at home 
in the French language, and that takes 
happily of the foreign artists who 
come a-visiting the Club. 
They have such cordiality and 
savoir faire as makes anyone 
feel at home and amalgamates 
different kinds of people in a 
crowd. . Young Mr. Brush 
especially . . he has a gift for 
thawing and enlivening the 
hauteur of anything from a 
Duchess to an aspirant for the 
screen. . they're the haughtiest 
of all, as you know if you have 
read "Merton of the Movies" . 
Just by way of illustration, 
here is a little picture of a re- 
cent Saturday evening. . . 

Tubby and I had been hav- 
ing an early dinner at the Bre- 
voort and afterwards strolled 
down to the Mews. . We 
found a gay company at the 
Club sitting in the candlelight 
with coffee and cigarettes, and 
were promptly gathered in to 
(Continued on page 126) 



care 



[116] 



Theatre Magarini, Auguil, if a 




CJheJlinds Cre-Maids 

Can bring to you 
'ftealtti and Beauty 
-And Comfort true. 



TO PREVENT SUNBURN. Use 
Hinds Honey and Almond Cream before 
and after exposure; also morning and 
night to keep the skin soft. If the skin 
is inflamed and sore, do not rub it, but 
moisten a piece of soft linen or absorbent 
cotton with the Cream and lay it on the 
skin for a half hour or longer; repeat 
until relieved. It will quickly cool the 
burned surface and prevent blistering or 
peeling. 

WONDERFUL BASE FOR FACE 
POWDER. The liquid Hinds Honey 
and Almond Cream is now used for this 
purpose with marveloussuccess. Moisten 
the skin slightly with the cream; let it 
nearly dry, then dust on the powder. It 
will adhere to perfection. 

AS A MANICURING AID THIS 
CREAM softens the cuticle, prevents 
soreness and preserves the lustre of the 
nails. 

AN AFTER-SHAVE COMFORT 
Every man who tries it is gratified by 
its quick action in soothing, cooling and 
healing scrapes, sore spots and cuts. 



In summer places, on hills or sands, 
You'll find your complexion, your arms and hands 
Will need protection from wind and sun; 
Then let the Cre-Maids bring this one. 

Cool Hinds Honey and Almond Cream 
For mid-summer comfort reigns supreme; 
For no matter how "blowy" or hot the day, 
Sunburn and windburn it keeps away. 

For "hiking" blisters, for bites and stings, 
An instant relief it always brings; 
Dust irritations soon disappear, 
Leaving your skin soft, smooth and clear. 

Constant use throughout summer days 

Is a healthful habit that always pays, 

And every outing a treat will seem 

If you take Hinds Honey and Almond Cream. 



You will find the Hinds 
Week-End Box especially 
convenient andusefulnow, 
as it contains those essen- 
tials for the comfort and 
attractiveness of the face 
and hands. Trial size, 
Hinds Honey and Almond 
Cream, Cold and Disap- 
pearing Cream, Soap, Talc 
and Face Powder, jocents. 

Try your dealer first. Write 
us if not easily obtainable. 



All druggists and department stores sell Hinds Honey 
and Almond Cream. We will mail you a small 
sample for 2c or trial bottle for 6c. Booklet Free. 



Send us I o cents for a Try-out Box contain- 
ing five samples assorted. 

A. S. HINDS CO. , Dept. 32 , Portland, Me. 



HIT] 




Chair installed in Balaban & Katz Chicago 
Theatre by American Seating Company. 



In America's Foremost 
Theatres 

THE public-wise manager knows that an 
audience comfortably seated is half won. 
He knows, too, that with the other elements 
of attraction more or less evenly balanced, the 
more comfortable seats of one theatre will easily 
swing the decision or "where to go" in its favor. 
Seating that was tolerated five and ten years 
ago is endured under protest now or altogether 
avoided. 

Our Theatre Engineering Department will be 
glad to consult with any theatre owner or 
manager on new installations or renewal of old. 
We can show you without obligation how your 
theatre can "cheat old age" and revive its 
youth for further years of service. 

e2C22xax2?!(2SexssG2K2*e;^^ 




NEW YORK 
1 17 W. 40th Street 



CHICAGO 
18 E.Jackson Blvd. 



PHILADELPHIA 
707-250 S. Broad St. 



By ANNE ARCHBALD 




HILE we are on the subject of vanities . . what, next to the face, 
contributes most to the youthfulness of the appearance? The figure! 
Yes ! Quite correct ! 

We have had it on our minds to write about this problem of the present-day 
figure for some time, and the approach of fall and a new season makes this 
an opportune moment to consider it. What are women going to do about 
corsets, we are constantly asked. Is it true that Paris is going to try to force 
us back into stiff, heavily boned things again, as they say? Having known the 
freedom of our muscles, must we go back to restraint? What does the actress 
think? What is she doing? 

Well, as to the actress, she is doing what she always has had a tendency 
to do and that is to eliminate the corset, if not entirely, in as far as she 
consistently can. Whatever she wears will be an affair of the least possible 
extent, light and flexibly boned. But she has come to realize, having tried it 
out, that much as she might like to go without any support whatsoever, she 
must have something, if only a tricot girdle, a wrap-around, or a "corselette" 
to keep the figure from spreading. 

We made a point of inquiring of a well-known actress, who, though inclined 
to plumpness, has kept her lovely slender figure for years, as to what kind of 
corset she wore, and this is what she told us, though she preferred to remain 
incognito. We were surprised to find that she did not have her corsets made 
to order. Sometimes fitted a bit, yes, but not usually even that. 

"You see," she said, "there is one firm that I swear by. I believe they 
have the right attitude in the matter. They have kept up with the times. 
And that is why I have bought their corsets for years and expect to keep on 
buying them. You don't find them coming out, for instance, as some of the 
other firms are doing, and saying, 'Women, you must go back into the old- 
fashioned stiffly-boned corset,' meaning because we must sell them. . That 
is nonsense . . the day has gone past for that particular kind of forcing. . 
No. This firm says, 'My dear Ladies, do whatever you please and we will 
follow and co-operate with you. If you are stout and want a heavily boned 
corset, well and good. We have it for you. If you want a medium type corset, 
we have that. But if you are going along with the new fashions of the least 
possible confinement of the figure, we are right there with you too. We have 
every kind of wrap-around' . . you know those are the corsets with just the 
rubber reinforced with cloth, no lacings . . . 'and corset-girdle, and brassiere- 
corset that you could need.' Isn't that reasonable? And wouldn't you feel that 
that firm was the one to pin your faith to? I'll tell you what I'll be glad to 
do. . I'm going abroad in a week or two and I shall have to buy some fresh 
corsets and bandeaux for the trip. . You see how much I believe in these corsets 
since I'm taking them to Paris instead of buying them there. . If you like, you 
may come along when I make my purchases. ." 

Fine! We accompanied the beautiful lady to the Fifth Avenue shop and 
went into ecstacies over the new corsets there. Adorable creatures! All in 
the loveliest pink materials, silk and cotton brocades, and with every kind of 
practical device consistent with ease and grace for slenderizing and rounding 
the figure. There was, for instance, the device whereby the rubber in the back 
of the wrap-arounds, instead of being one whole piece, was sewed together in 
cross-sections, so that it would give to the figure and yet not stretch. There 
was another device whereby the boned material came up an inch or so in the 
back over the elastic band finishing the top, to take care of that flesh that has 
a trick of bulging over just there. There was a stunning device for a stout 
woman's corset, a rubber insert on either side the front, under the material, 
with elastics fastened to the material above. . . We wish we had space to 
tell you more, but you must really go and hunt these corsets up for yourself. 

(For the name of the firm making these up-to-date corsets and where they 
may be purchased, write The Vanity Box, The Theatre Magazine, 6 East 39th 
Street, New York City.) 



[118] 



Theatre Magazine, August, 



BRUNSWIG 

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J\fumber ( Eightofa (Series 





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WHAT'S THE MATTER WITH MUSICAL 
COMEDY? 

(Concluded from page 90) 



it is piquant, and these talented girls 
will know how to interpret these 
moods. All of these elements will be 
combined consistently and artistically. 

And just as a higher type of chorus 
girl will be demanded, so will more 
finished actors be selected for the casts 
of musical comedies. The comedian 
will not be a buffoon. He will be a 
straight comedian. The prima donnas 
will have real voices to recommend 
them. The others in the cast will be 
real comedy actors, not merely decora- 
tive figures for a tinselled scene. 

I might cite the opening scene and 
story of "Irene" as examples of 
what the future musical comedy 
should be like. The opening scene 
of "Irene" was a realistic one tene- 
ments, and an old Irish woman lean- 
ing out of her window chatting with 
a friend about her "Irene." The old 
woman was a distinct type. She was 
not dressed in shabby silks, but an old 
gingham house dress. When Irene, 
her daughter appeared, she looked like 
the sort of girl who would have a 
mother like that a typical shop girl. 

So, considering all things, the 
musical comedy of the future must 
have a perfect story, filled with real- 
ism, an adequately interpretive score 
and characters, with unusual ability 



and talents, if it would prove a suc- 
cess. Art must enter into the vivid 
glamour and the other day fabric of 
musical comedy. And, why you ask, 
all these reforms in musical comedy? 
Because, as I said before, the public 
is tiring of merely having their eyei 
bedazzled with glamorous scenes and 
nothing more. A musical comedy, of all 
forms of entertainment is the biggest 
money-making factor in the theatrical 
business. There are many reasons for 
this. Most pertinent is the public 
demand. It is in the record of history 
of the theatre, dating back a genera- 
tion or so, that musical comedy will 
attract audiences when most other 
forms of stage entertainment fail, or 
only moderately succeed. There are 
many who will deny this, referring to 
the success of "Lightin 1 ", for instance, 
to disprove it. But for every succesi 
like "Lightin' ", there are countleu 
"Irenes," "Sallys," "Marys," "Madame 
Sherrys," "Merry Widows," "Flora- 
doras," and "Chocolate Soldiers." 
Even though it costs more to produce 
a musical comedy the average one 
cannot be put on for less than $40,000 
musical comedies attract proportion- 
ately greater audiences than do other 
types of plays, and they can get 
bigger box office prices. 



ENTER THE MONKEY MAN 



(Concluded from page 102) 



play in which I appeared, and, later 
when he wrote "The Hairy Ape" 
selected me for the title role. I don't 
mean to insinuate that he wrbte a play 
exactly to fit my personality, ;but per- 
haps my general appearance and 
physique gave him an idea or two to 
work on. Great Guns, I can't im- 
agine anyone being so nearsighted 
as to cast me in other than a character 
role. And, after all, character work 
is the only real kind of acting. Noth- 
ing else counts very much. To study 
and analyze character, and then de- 
lineate various types of people, is the 
most fascinating sort of business. 

"In my first stage effort I played 
the old Prince of Wales in 'The Fair 
Circassian.' It was the nearest thing 
to good looks I had doled out to me 
in my brief stage career. I wasn't 
exactly a monster in this play. My 
second appearance was in 'The Jest,' 
and I was only a super. The follow- 
ing season I played the executioner in 
'The Jest.' This was followed by a 
minor role in 'The Letter of the Law.' 
The role of a fierce Mexican bandit 
General in 'The Broken Wing,' and 
a minor role in 'The Idle Inn.' But I 
have no illusions whatever about my 
face and form. I never expect to be 
cast as a stage Adonis. Why, I look 



so much like a pug that I have often 
been called to stage fights, though I 
have never been in the ring profes- 
sionally. 

"Yes, I believe the strong and ugly 
face, and the powerful physique the 
Man of Iron type is coming in to hii 
own. I believe that we are going to 
have more plays with real power in 
them, and real ideas, and it neces- 
sarily follows that virile plays will 
call for virile types. The good-look- 
ing, slightly anaemic, well-tailored, 
stepped-out-of-a-band-box, gardenia- 
button-holed type is going to do a 
fadeaway for a while. 

"Lionel Barrymore was responsible 
for my stage debut," he said. "I met 
him about six years ago, soon after 
my return from Mexico. At that time 
I was an instructor of mathematics. 
He told me one day that he had se- 
cured an engagement for me in a play 
in New York. I remonstrated with 
him: 'But I cannot act. What shall 
I do?' 'Don't act,' responded Mr. 
Barrymore. 'That's the wise course. 
Just walk on to the stage, and don't 
act. You'll put over your lines all 
right.' And, in a spirit of bravado I 
accepted. And, well, here I am. I'm 
a hairy ape." 



[120] 



Theatre Magazine, August, 



ON the curves of the nation's highways 
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[121] 





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one Kotex with two safety 
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THE HAIRY APE 



(Concluded from page 84) 



she tought. She wasn't wise dat I was 
in a cage too worser'n yours sure 
a darn sight 'cause you got some 
chanct to bust loose but me. (He 
grows confused.) Aw, hell! It's all 

wrong, ain't it. (A pause) 

Say, how d'yuh feel sittin' in dat pen 
all de time, havin' to stand for 'em 
comin' and starin' at yuh de white- 
faced, skinny tarts and de boobs what 
marry 'em makin' fun of yuh, 
laughin' at yuh, gittin" scared of yuh 
damn 'em! (He pounds on the rail 
with Ills fist.) 

( The gorilla is straining at his bars, 
growling, flopping from one foot to 
the other. Yank takes a jimmy from 
under her coat and forces the lock 
on the cage door. He throws this 
open.) Pardon from de governor! 
Step out and shake hands! I'll take 
yuh for a walk down Fif Avenoo. 
We'll knock 'em often de oith and 
croak wit de band playin'. Come on 
brother. ( The gorilla scrambles 
gingerly out of his cage. Goes to 
Yank and stands looking at him. Yank 
keeps his mocking tone holds out his 
hand. ) Shake de secret grip of our 
order. (Something, the tone of mock- 
ery perhaps, suddenly enrages the 
animal. With a spring, he <wraps his 
huge arms around Yank in a murder- 
ous hug. There is a little crackling 



snap of crushed ribs a gasping cry, 
still mocking, from Yank.) Hey, I 
didn't say kiss me. ( The gorilla lets 
the crushed body slip to the floor; 
stands over it uncertainly, consider- 
ing; then picks it up, throws it into 
the cage, shuts the door, and shuffles 
off menacingly into the darkness at 
left. A great uproar of frightened 
chattering and whimpering comes 
from the other cages. Then Yank 
moves, groaning, opening his eyes, and 
there is silence. He mutters pain- 
fully.) Say dey oughter match 
him with Zybscyo. He got me, aw 
right. I'm tru. Even him didn't link 
I belonged. ( Then with sudden, pas- 
sionate despair.) Christ, where do I 
get off at? Where do I fit in? (Check- 
ing himself as suddenly.) Aw, what 
de hell! No squakin' ! see? No 
quittin', get me! Croak wit yer boots 
on! (He grabs hold of the bars of 
the cage and hauls himself painfully 
to his feet looks around him bewild- 
eredly forces a mocking laugh.) In 
de cage, huh? (In the strident tones 
of a circus barker.) Ladies and gents 
step forward and take a slant at de 
one and on'y (his voice weakening) 
the one and original Hairy ape 
from de wilds of (he slips in a heap 
on the floor and dies. The monkeys 
set up a chattering, whimpering wail.) 
CURTAIN 



BEHOLD THE AUDIENCE 



(Concluded from page 78) 



ing to make one more move in his own 
very personal game to flirt, to meet 
some one, above all, to be seen. The 
American abandons his ego and de- 
mands his money's worth in thrills and 
laughs from behind the footlights. 

Unlike the European, he is patient 
when cheated. He never indulges in 
cat-calls, hisses, groans and missiles. 
Neither is he given to bravos and 
bravas. He applauds mildly unless he 
happens to be swept away by an in- 
fectious mob enthusiasm, one of those 



inexplicable storms rare in our thea- 
tres today. Then he obligingly turns 
himself inside out. He is for the 
moment a victim of hysteria. Witness 
the ovations offered to Geraldine 
Farrar this winter a frantic clamour- 
ing before the steel curtain, a madness, 
an ecstasy .... A year ago, iden- 
tical performances of "Butterfly" and 
"Carmen" won no more than a per- 
functory hand-clip . . . 

This is contagion. It is an emo- 
tional measles. 



NEW VICTOR RECORDS 



Mme. Homer and her daughter, 
Mme. Louise Homer-Stires, sing a 
blithesome duet for a new July Victor 
Record. "Venetian Song" is essentially 
a Tosti lyric, written in one of his 
happier moods, visioning the joy and 
beauty of life. 

Giuseppe de Luca's records repre- 
sent the perfection of modern vocal 
art. "Marietta" which he has recorded 
for the new July Victor list differs 
from all his other records in that, for 
all its Neapolitan origin and style, it 
bears a marked semblance to an Ame- 



rican fox-trot song. It is sung with 
the freedom of true Neapolitan min- 
strelsy, and is de Luca in one of his 
less serious moments, albeit an envi- 
ably delicate and finished piece of 
work. 

Heifetz makes his first Mozart re- 
cord for the July Victor program. It 
is "Rondo in G Major" from a sere- 
nade. Arranged by Fritz Kreisler, it 
is a record full of surprises, opening 
at furious speed, developing occasional 
slower melodies of crystalline beauty. 



[122] 



Qfarru Carey 

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Theatre Magazine, August, 






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ACTRESS WHO PLAYS UNUSUAL WOMEN 



(Concluded from page 72) 



I prefer to know that's all. I myself 
happen to be part Dutch, English and 
French," added Miss Westley ruefully. 

"But to get back to character roles. 
I never played anything but character 
roles in my life. I have never been an 
ingenue. I have been hags and vam- 
pires, old women and women of un- 
certain age, but never the sweet girl 
graduate type. And I confess, inci- 
dentally, that it has been easier for 
me to make-up for the old woman 
character roles than for the seductive 
younger women parts. I never had 
the slightest inclination at any period 
in my life to be an ingenue, even 
though my type and personality would 
have permitted it. I have always liked 
a more forceful woman type whether 
she be a force for good or bad. I 
have insisted that she have some 
strong strain in her make-up a strong 
and passionate amorous strain, a 
powerful revengeful streak, or be pos- 
sessed of a large amount of hatred for 
something or some one who has 
wronged her or betrayed a confidence. 

"If ever I had the slightest inclina- 
tion to play a sweetly romantic role, 
I think that role would be Juliet." 
Miss Westley's face relaxed into a 
whimsical smile. "Juliet, you know, 
contrary to a general impression which 
is conceived of her, wasn't the purely 
sweetish kind of lady. She was a 



vibrant, wholly alive woman, with 
nothing vapid about her. Some of the 
lines, the unexpurgated lines of 'Romeo 
and Juliet" are not by any means lack- 
ing in a certain warmth. 

"However, as alluring as that role 
may be, I think I'll stick to character 
parts. Even though the women I must 
portray are lacking in a certain gentle, 
feminine charm, I feel sympathy for 
these women. I analyse them, and 
understand them, and pretty often for- 
give them a good many of their short- 
comings." 

We left Miss Westley's dressing- 
room, realizing suddenly that not once 
had she referred to "mother" or given 
us a favorite recipe of hers for raisin 
pie or plum duff. We glanced back 
at her rather picturesque figure before 
the mirror, and looking at her we 
could plainly visualize Zinida, the 
elderly carousel owner who had loved 
Liliorn; the Spanish grandee; and the 
old malevolent woman who had 
smothered the baby. No, Miss West- 
ley does not for long divorce herself 
entirely from her diversified and 
strange-women roles. There is noth- 
ing domestic about her. She is not 
apparently, suppressing an impulse to 
do a bit of culinary work over a gas 
range. Which all leads up to the fact 
that certainly there is something "dif- 
ferent" about Miss Westley. 



JURY JUDGES ITS FIRST PLAY 

(Concluded from page 74) 



have an outlet and when suppressed 
often manifests itself in some activity 
apparently foreign to the customary 
habits of the subject. Women going 
to a matinee of "The Semi-Wife," 
want and expect to be shocked. If 
they are not they are likely to go home 
and cook dinner for their husbands." 
FOREMAN: "I think we have discussed 
the matter sufficiently. We must give 
a verdict or defeat the movement to 
prevent the drama from falling into 
that Slough of Despond known as 
Censorship. I consider it our duty 
to find the third act objectionable from 
the point of view of public morals. 
This is our first case and we must 
justify the responsibility placed on us 
by those who have complained in good 
faith. I move we take the first ballot." 
HITHERTO UNHEARD FROM JURYMAN: 
"Hurry it up. I want to go to the 



Winter Garden or The Follies and get 
the full voltage of the shock I've been 
hearing about." 

The ballot is taken, the result being 
a verdict requiring a change in the 
third act. 

SCENE THREE 

OFFICE OF THE PRODUCER OF "THE 
SEMI- WIFE": Producer and Publicity 
Manager are shaking hands and slap- 
ping each other on the back. 
PRODUCER: "Oh, Boy, what a knock- 
out! How will we change that act?" 
PUBLICITY MANAGER: "Give them all 
the juice there is in the battery. Re- 
member that second act in 'Bought and 
Paid For'? Wife goes into her room 
and locks the door? Husband smashei 
the lock? That's what Bertie's going 
to do." 

CURTAIN 



NEW BRUNSWICK RECORDS 



Giuseppe Danise, who has been called 
the "Caruso of baritones," displays 
great breadth and beauty of tone and 
a thrilling, dramatic intensity in his 
interpretation of "O de verd' anni 
miei" from Ernani, and the rollicking 
"Largo Al Factotum" from the Barber 
of Seville, on a double-faced Bruns- 
wick record. 



"Such A L'il Fellow" affords Marie 
Tiffany an excellent opportunity to 
show the sympathetic warmth of her 
lovely soprano voice. On the reverse 
side of this record, Miss Tiffany singi 
charmingly the solo part of that old 
time favorite, "Little Alabama Coon" 
arranged for a quartet in which the 
voices blend beautifully with the fas- 
cinating thrum of the "banjo pickers." 



[124] 



Theatre Uaaaiine. August, 1921 



\ 




Far Be It From Us 

to blow our own horn 



But inasmuch as we're the only ones who can even 

suspect the nature of our September contents we're 

simply forced to do it! 



A Superb Summer Issue 

. . . Covered with one of the finest portraits in color it 
has ever been our good fortune to print a brilliant 
study of Miss Mary Nash in the pirate costume of Cap- 
tain Applejack done by Georges Plasse, the eminent 
French artist. 

Duse Speaks At Last 

. . . After seemingly unbreakable silence, the world's 
greatest actress accords an intimate interview and dis- 
cusses her coming American tour with Theatre Magazine. 

Fabiano 

... of Paris! . . famous in this country to followers of 
the gay La Vie Parisienne, is now in New York and has 
started for us a series of sketches in the American 
theatre. Next month we present his first, a charming 
and amazingly faithful full-page pastel likeness of Miss 
Irene Bordoni. 



And Furthermore 

... JAMES L. FORD discusses that mysterious 

dramatic entity, "The Actor Proof Scene." 

A. A. MILNE'S latest and most popular comedy, 
"THE TRUTH ABOUT BLAYDS" is presented next 
in the series of condensed plays that has become so 
extraordinarily popular with our readers. Following 
this series monthly is the next best thing to actually 
attending every good play that opens on Broadway. 
. . . THE COMING SEASON is discussed by an ex- 
pert for those who would be in the w.k. "know." 
.... THE CHAUVE-SOURIS CURTAIN, a scin- 
tillating super-caricature of all New York's Notables 
by Ralph Barton, occupies a double page in color. 
. . . An Illustrious but here! we must keep some 
things by way of surprise! And then too 



Modesty Prevents Our Saying More! 



[125] 




IRENE WORDONI 

Pays Tribute to 
American Beauty 

Irene Bordoni, one of the 
most gifted and beautiful 
actresses on our stage, has for 
years protected and perfected 
her wonderfully beautiful 
complexion and contour 
through the discovery of an 
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Mrs. M. G. Scott, creator of 

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Miss Bordoni writes that 
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every day toilet." 
Warning: Mineralava is imitated. 
The original is your only protec- 
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Send for specialist's booklet: 

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Books 



Especially those containing plays for reading or 
acting, or those concerned with play production 



TVfOLIERE, by Brander Mathews. 
(Charles Scribner's Sons.) A 
timely book, in view of its being the 
tercentenary of the great dramatist, is 
this life of Moliere by Brander 
Mathews. And we regret that it is 
impossible in such short space as we 
are allotted here, to do adequate jus- 
tice to Mr. Mathew's volume, or in 
fact, to do more than suggest its ex- 
tremely interesting quality. 

It is most important to one's culture, 
dramatic and otherwise, to know about 
Moliere, and what he represents, since 
as Mr. Mathews points out he "is in 
many ways the central figure in all 
French literature." He is as well "the 
embodiment of certain dominant char- 
acteristics of the French people . . its 
social instinct, its hatred of affection, 
its lack of spirituality" (isn't that 
rather harsh, Mr. Mathews, or do we 
take different views of the meaning of 
the word?), "its relish for the con- 
crete, its girding humor and its dra- 
matic ingenuity .... But he is 
more than French, for his genius 
transcends the boundaries of race; it 
has the solid elements of the universal 
and the permanent. He is the fore- 
most of comic dramatists, the model of 
all who come after him and the su- 
perior of almost all who went before." 

Mr. Mathews proceeds in his usual 
finished and scholarly fashion to eluci- 
date this theme for us. After a com- 



prehensive survey of Moliere's earlier 
life and his career as actor-manager 
in the provinces, Mr. Mathews takes 
up the plays one by one, in the order 
that they were written and- presented 
by Moliere's own company. He gives 
their outlines in a light and easy way, 
the circumstances and influences under 
which they came to birth, how they 
fared with their public at the time and 
their ultimate ranking as adjudged by 
posterity. Mr. Mathews ends with an 
estimate of "Moliere the man." We 
hereby recommend "Moliere," the 
book, for authentic information, graph- 
ically and entertainingly presented. 

TVTISS LOUISE SEAMAN, head of 
the Juvenile Department of Mac- 
millian's writes us that she is keeping 
a special look-out for children's plays 
that are real literature and that can 
be presented in little theatres and for 
pageants. So far her list includes 
"Master Will of Stratford," by Louise 
Ayres Garnett; "The Steadfast 
Princess," by Cornelia Meigs, which 
won The Drama League prize for a 
children's play in 1915; "New Plays 
from Old Tales," by Harriet S. 
Wright, which has a wide audience 
and many practical possibilities ; 
"Friends of Bookland," by Winifred 
Ayres Hope ; "The White Peacock," by 
Cornelia Meigs, which was given at 
the Poughkeepsie Community Theatre. 



The Promenades of Angelina 

(Continued from page 116) 



face the witty cross-fire of badinage. . 
Marjorie Patterson was there, whom 
we were awfully glad to see again. . 
she is always so perfectly turned out 
from the tips of her pink finger nails 
to the toes of her French shoes . . and 
Mme. Maeterlinck, who was inscribing 
for the Club a copy of her "Livre des 
Chiens," which she not only wrote, 
but illustrated . . too droll and de- 
licious. . . Discussing publicity with 
an attractive newspaper woman was 
Stuart Walker's business manager, 
young J. K. Nicholson, following as 
rising author in his well-known rela- 
tive's footsteps. . If Fanny had been 
there she might have shifted her alle- 
giance, said Tubby, as the J. K. N. 
chin line and dimple out-Barthelmesses 
Barthelmess. . . Gerome Brush in 
good homespuns and a lime yellow 
necktie, was trying amidst terrifyingly 
irrelevant interruptions to outline a 



philosophy of life from the artist's 
standpoint, while Margaret Wycherly 
discussed with Neville Brush the de- 
tails of some out-of-door performances 
that she was giving at Martia Leon- 
ard's Brookside Theatre, and in which 
the gentleman was to participate. 

Afterwards we went upstairs, to the 
big studio room where the intime 
concerts are given. . Mr. Nelson put 
a jazz roll on the baby grand Ampico 
and there was some desultory dancing. 
But presently everyone piled up on the 
big divan in the alcove to smoke and 
chat. . I seized the opportunity to in- 
veigle Mr. Nelson to the piano bench, 
cuddle beside him and make him sing 
his favorite Franz and Schubert songs 
. . which he did in a lovely soft warm 
half-voice. . He wasn't a bit proud 
either and even accompanied my little 
pipe in a song. 




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The Importance 

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After you have selected 
your play, you will have 
three important questions 
to decide adequate stage 
effects, costumes and stage 
lighting. Mistakes in 
judgment are fatal. The 
expert service offered by 
the advertisers on this 
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COMMUNITY DRAMATIC ACTIVITIES 



(Continued from page 108) 



Ribault by Prank Dearing of the 
Civitan Club; Laudonniere, by How- 
ard Harkisheimer; Dominic de 
Gourges, by J. B. Lucy; Menendez, 
by Thomas T. Elmore; Governor 
Herrcra, by Abner Withee; Andrew 
Jackson, by C. Seton Fleming. 

The Interlude of Florida's gifts to 
the World was in charge of The 
Florida Teachers' Federation. Many 
of the dance interludes and Spanish 
and English scenes were conducted 
by Miss Jacobi's School, the Con- 
cordia School and the Woman's Club 
of Jacksonville. The Indian spears 
used in the pageant were made by 
invalid soldiers in Lake City United 
States Hospital, directed by Ralph 
Smith. 

Quite apart from the presentation 
of the pageant, the educational value 
of its several months' preparation 
work has meant for Jacksonville, a 
significant development of community 
effort and worth while achievement. 

In compiling the Book of the Page- 
ant interesting episodes of folklore 
and unpublished history were un- 
earthed. In the establishment and 
operation of the workshop in the 
Jacksonville Chamber of Commerce, 
artists, designers and decorators were 
brought together and the nucleus of 
an art center formed. The frequent 
rehearsals of the music units have 
been a gain in countless ways as was 
also the co-ordination of the work of 
churches, schools, libraries and civic 
bodies with the local writers, poets, 
musicians, artists and dancers. An 
acquaintance with Nina B. Lamkin's 
organization and working plans and 
methods in community pageant pro- 
duction was another gain for Jackson- 
ville. 

Miss Lamkin went to Florida, fresh 
from the direction of the production 
of "The Keowee Trail," a great com- 
munity pageant of Greenville, S. C., 
in which 3,000 people of seven coun- 
ties, took part. A few months before 
that, Miss Lamkin had directed the 
pageants and festivals of the St. Clair 
centennial celebration of Michigan in 
which there were 5,000 actors. 

The Florida Historical Pageant was 
the thirtieth large community page- 
ant Miss Lamkin has directed. 

Since 1920, Miss Lamkin has been 
a dramatic organizer with Com- 
munity Service, has served on the 
faculty of the Community Service 
Training Schools, and directed a 
number of the Kirgest and most im- 
portant dramatic enterprises pro- 
duced. Miss Lamkin says that all 
community pageants from beginning 
to end should be the work of the 
local people. 

The tremendous success of the 
Florida Historical Pageant from an 
artistic viewpoint has so impressed 
the people of Jacksonville, that they 
plan for an annual festival and page- 
ant every Spring. Great civic 



strength has been gained and the 
value that the entire enterprise has 
been to Jacksonville cannot be mea- 
sured in dollars and cents. 

The pageant pattern is in itself of 
such national import and interest that 
it will scarcely remain within state 
confines nor ever be ended with its 
epilogue. 

Do not Ponce de Leon, Panfilo de 
Narvaez, Ferdinand de Sota, Juan 
Ortiz, Jean Ribault and the rest be- 
long to the United States quite as 
much as to Florida? 

Are not the dramatic happenings 
of the St. Johns River, of old St. 
Augustine, Tampa and Pensacola so 
vividly portrayed in this pageant, 
possessions of our entire country? 

Who knows but that schools and 
colleges throughout the United States 
shall call for this Book of the Florida 
pageant and unroll for themselves 
with their own actors the panorama 
of those dramatic periods of Indian, 
Spanish, French and English rule in 
the South? 

Certainly the history of Florida, 
like that of Massachusetts .and 
Virginia, is a precious heritage 
minus its blood stains, let us say! 
of our entire country. St. Augustine 
stands with Plymouth and James- 
town always in the farthest back- 
ground of American History. Here 
are the roots. 

When everything is said there is 
but one effective way to show the 
picture to young and old alike that 
one way is to teach history and that 
is through dramatics and pageantry. 

United States Senator Duncan U. 
Fletcher, of Florida, said in reference 
to the Jacksonville pageant when it 
was being planned: 

"There is no state in the Union 
that has a more wonderful history 
than Florida, a more interesting, ro- 
mantic, stirring and picturesque his- 
tory to depict in pageant form. It 
is surprising how little, many of us 
who have lived here all of our lives, 
know about this history of our state. 
There is no better way, it seems 
to me, to preserve and acquaint our- 
selves and our children with our 
unique past than by a great Florida 
pageant. A pageant, giving a de- 
tailed description of Florida from the 
time of the Indians and the first set- 
tlers to the present day, would be a 
most inspiring event to behold, and 
would have tremendous educational 
value. Our historic heritage is too 
precious to be lost, and it must be 
preserved. 

Recently, I heard in Washington, 
Dr. Newell Dwight Hilles advocate 
that the schools and civic associations 
of the country inaugurate a method of 
education whereby history would be 
taught almost exclusively by the use of 
pictures. The pageant is a dramatic 
repetition in human picture form, of 
history itself." 

[128] 



Professional Schools 

Recommended by 

The Theatre Magazine 

Catalogues will ke lent on request 



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Franklin H. Sargent, President 

The leading institution 
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America. 

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Address applications to Secretary of the School 
Hotel Majestic, Ner York City (Knabe Piano) 



PERFECT FRENCH 

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with a Parisian young lady. 

Address M.J., c/o Theatre Magazine 
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Regarding Professional 
Schools 

If you are interested in tak- 
ing up an intensive study of 
the Drama or Dancing, the 
announcements on this page 
will point the way to the 
school best suited to your 
needs. They will gladly send 
you catalogues and full de- 
tails concerning their courses, 
on request. For additional 
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Vol. No. 36, No. 3 
Whole No. 258 



Where ITouth 
Leads the 



"FW O' 



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Winter. Latest, loveliest editions of those viva- 
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role in the smart life of America! 

"THE HOUSE OF YOUTH" is in league with all women 
of youthful type no matter what their ages ! Its 
Fashions radiate the delightful gaiety that is the 
key-note of the modern, youthful personality. 
But, in every instance, you will find gaiety 
blended delicately with refinement and good taste. 

This season's models are particularly charming! 
Soft, velvety cloths with the blue of Sorrento or 
Hawaii; Chechoslovakian necks and sleeves; 
lavish Russian-inspired fur trimmings; the henna 
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and always the smart stamp of New York ! 

See the three "House of Youth" 
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SUCCESS IN DRESS The House of 
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Brochure, showing some of our most 
noted actresses appearing at their best 
in House of Youth Fashions. The 
title is "Success in Dress." Ask for 
a copy at the Store representing us 
in your town. If unobtainable, please 
write to us. 



THE HOUSE OF YOUTH 

38 EAST 29TH STREET, NEW YORK 
3 AVENUE DE l/OPERA, PARIS 



This label identifies 




''House of Youtn" fashions 



[130] 



7 ilEATRE MAGAZINE, SEPTEMBER, 1921 




Architect 8 drawing for the propoBed civic art centre in New York City at Seventh Avenue and Central Park Soulh. Two 

theatres for repertory and special productions, one large, the other intimate, are in the plans being formulated for this 

splendid group under the direction of City Chamberlain Philip Berolzheimer 

CONTENTS FOR SEPTEMBER, 1922 



Cover Portrait, Miss Mary Nash Georges Plasse 

Proposed Municipal Art Buildings for New York 131 

Alexandre Sakharoff, a portrait 133 

Enter a New Season, editorial 134 

Why New York Is a Summer Resort 135 

The Cypress Grove 136 

Duse Breaks Her Silence, an interview Alice Rohe 137 

Plays, a poem Harold Seton 138 

The Younger Planets 139 

Ibsen as Played in His Own Country 140 

What Is an Actor-Proof Scene?, an article James L. Ford 142 

Kotchetovsky of the Chauve-Souris 143 

Stars to Twinkle in Fall Skies 144 

The Rise of the Curtain, a forecast John Van Daren 145 

Mary Servoss, a portrait 146 

A Photographic Poem of Motion 148 

"My Dearest Love . . ." 150 



Mr. Hornblow Goes to the Play 151 

Lenore Ulric, a portrait 152 

Louis Wolheim, a portrait 153 

Captain Pollock, an interview Ada Patterson 154 

Irene Bordoni, a pastel F. Fabiano 155 

The Truth About Blayds..... A. A. Milne 156 

A Rest From the Call Boy 157 

The Bubble Dance 159 

In the Nipponese Footlights 161 

The Chauve-Souris Curtain, a double page in color 162-163 

Amsterdam does Something New, an article Carlton Milet 164 

Dances East and West 165 

Heard on Broadway 166 

The Moving World 167 

The Amateur Stage M . E. Kehoe 169 

Fashions Anne Archbald 173 

Fabiano de Paris ,. 190 



IN OUR NEXT ISSUE: A " unu8Ilal in| efview with G. B. Shaw in his London home by Carlton Miles J* The story of the 

Moscow Art Theatre the finest dramatic group in the world and soon to come here by Oliver L. 

Sayler with a host of striking pictures of its personalities and productions < An autobiographical glimpse of one of Broadway's most 

amazing personages who is constantly going "broke" for art's sake JX "Kempy," the next in our popular series of condensed Broadway 

successes vJt As well as o'her articles and our usual treasury of beautiful portraits and pictures 



F. E. ALLARDT, Director of Circulation 



LOUIS MEYER 1 

PAUL M EVER / Pu l>liher 



Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern, 

president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four 

dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c. 



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[132] 



THEATRE MAGAZINE 



VOL. XXXVI. No. 258 



Sl-l'TK.MBER, 1922 






Portrait by Charlotte Fairchild 



ALEXANDRE SAKHAROFF 




A striking study of the Russian dancer as Louis XIV in "Au Temps du Grand Siecle." This 
unusual artist, whose originally conceived dances portray a "state of mind" rather than an 
emotion, has been the rage of Paris for the past year and is expected to return again to this 
country, where he has already appeared but passed comparatively unnoticed for want of 
publicity. Sakharoff is especially noted for his brilliant costumes, designed by himself 






[133] 



ARTHUR HORNBLOW, Editor 




Editorial 

Enter A New Season 



IT is nearly here. And to judge by the jingling of bells and 
the triple huzzas of every press department in town no 
crepe hangs on the manifold managerial doors of Broadway. 
Wall Street may have its crashes, nations plunge into hopeless 
moratoria, millionaires wake up with sixteen dollars in their 
jerkins, but Forty-second Street holds out. No financial dent 
caused by last season's dire slump has caused an abridgment of 
production plans and the season now faced promises to be as 
filled with plums as a Xmas pudding. Plums, that is, for the 
public. It remains to be seen whether the producer is to have 
his share of them or not. The play-goer is to be regaled by 
Europe's and America's latest and best. 

Not in years have plans as forecast elsewhere in THEATRE 
MAGAZINE called for so downright thrilling a theatrical year 
as we may look forward to. The manager plans doing his 
noblest for sweet art's sake. Whether the reward is to be 
concomitant to his pains we shall soon learn. But we venture 
to predict that, on the whole, the producers will be paid for 
their effort exactly what that effort is worth. Good times in 
the theatre run for the most part rather independently of good 
times elsewhere. The rules of business are not the rules of the 
theatre. In fact there is no rule in the theatre. Using the 
words "good" and "bad" in their academic rather than popu- 
lar significance, a good play may fail and a bad one run a year. 
The theatre is a place sans rules, sans statistics, save one. And 
that is that given a play badly prepared and one well prepared, 
the latter, regardless of intrinsic worth, is infinitely more likely 
to "catch on." 

It is rather mystifying that men trained in the art of creat- 
ing entertainment for the public should continue to hurl onto 
the boards with a speed that is dizzying productions that from 
the very nature of their preparation cannot be entertainment. 
Haste in the theatre, as elsewhere, can be productive of no 
more than sketchy results, and in the event of the success of 
such results the manager responsible is due for congratulations, 
not on his wisdom, but on his luck. It is a luck for the most 
part that he doesn't deserve, and if he heeded the one vital 
statistic of New York's theatre he would not run quite so 
desperate a risk of not having it at all. 

A S plays are "put on" nowadays it ordinarily takes three 
** weeks to put a new play through the paces of production. 
That includes the time in which the players have to acquire 
their lines, the director to teach them their "business," the 
scenic artist to turn the stage from an empty hall of bricks and 
ropes into a living world. Through all of this time changes 
are being made changes in the script of the play, in the cast, 
in the scenes whole upheavals occur but still time marches 
on, the fatal three weeks for which the producer can have the 
players' rehearsal time without expense to him, and the night 
of the first opening draws resolutely near. The first viewing 
is usually out of town and scheduled enough days ahead of the 
opening on Broadway to permit of imperative last-minute 
alterations for the purpose of "building up." Building up! 
The phrase is usually a mockery. Without a foundation there 
can be no building up and in nine cases of ten the preparation 
prior to the inauguration of the three weeks of actual rehearsal 
is so hopelessly inadequate as to make those three weeks a riot 
of confusion and uncertainty. Casts are picked in desultory, 



inefficient style, the script is ignored by producer and director 
alike until the time when the lines are actually being spoken 
by players, and the settings are then hurled on, hit or miss, 
in a way which for casualness is without equal. That there 
are any results at all is a miracle and a credit more usually 
to the harassed actors than anyone else. Theirs is the principal 
strain of the first night, theirs the extraordinary effort on their 
own resources which at times pulls what the night before 
appeared to be a hopeless confusion into a condition of seeming 
orderliness and achievement. 

THE records of the theatre show that care in production does 
one of two things. It tends, as in the case of almost all 
Belasco productions, to success, even in the case of compara- 
tively poor plays, or to making manifest to the producer and 
those about him that the venture is not worth spending more 
money on. The waste in the American theatre is stupendous. 
Thousands of dollars are lost annually on productions, notably 
of farces and muscial comedy, that the veriest tyro in the show 
business could have stamped a failure. But once under way, 
under the usual system employed, the very haste and confusion 
which attends the undertaking creates an inertia which carries 
the thing willy-nilly to Broadway and the jaundiced eyes of 
unhappy first-nighters. 

It is bromidic on Broadway that there is no bad season for 
a really good play. Broadway always has and always will 
appreciate the best. The best is not the shoddy, the incompe- 
tent, or the incomplete. Shakespeare badly produced is anathema 
and there is no reason why the products of lesser dramatic 
genius should be called upon to bear the brunt of wretched 
production. Money spent on production, important names in 
the cast, and scenery, designed by as good artists as can be 
found, do not necessarily go to make what can be called a good 
production. Time and thought and conscientious handling are 
partners which more frequently called in to assistance of a 
theatrical manager would make a far more steady and reliable 
contribution to the possibility of ultimate success. 

Theatre-lovers will be especially struck with the marked 
preponderance of foreign plays scheduled for presentation. The 
work of native authors looms as insignificant against the field 
of dramatic output from abroad that Broadway will have its 
opportunity to pass judgment on. It is not surprising that 
producers should so unanimously recourse to trans-oceanic 
sources. The native love for novelty, as only the foreigner 
seems able to provide it, and the dearth of domestic scripts of 
value has made that action imperative. But more than ever 
with the foreign play will the native, manager find extreme 
care in the matter of preparation productive of results. Shoddy 
translations and adaptations, inaccurate grasp of the meaning 
and spirit of the original, and hasty "putting on" will soon 
make it apparent that the foreign play's American buyer had 
just as well have stayed at home and thrown away his money 
on an American play. 

Care pays. That is the one statistic of the stage. It is as 
true in the case of an actor's personal preparation of his part 
as in the producer's preparation of his play. It is always there 
ready at hand for those who wish to use it. And the more 
we see of it during the coming season the more fruitful of fine 
things and big winnings that season is going to be. 



[134] 



THEATRE MAGAZINE, SEPTEMBER, 1912 




Here they come! Hundreds of them and every one a captivating reason for New York's hiving the fineit revues on earth 





Abbe 

The piquant Marjorie Peterson, who dances 
in the Greenwich Village Follies 



White 

Mary Lewis in one of the gorgeous lace 
costumes in the Ziegfeld Follies of 1922 





Apeda 

Margaret Petit in the charming Degai Ballet 
of the Pin Wheel Revue 




Victor Georg 
The ravishing radium ballet of the Ziegfeld Follies costumes of a myriad shades which emanate their own mysterious, lovely light on a pitch black stage 

WHY NEW YORK IS A SUMMER RESORT 
Girls, Costumes and Ballets All Perfect Form the Special Allure of the Season's Revues 

[135] 




Photography by Weslon & Mather 

THE CYPRESS GROVE 

A captivating out-door study of three Marion Morgan dancers. 
This unusually capable organization is presently engaged in 
bringing its classic art to the Keith chain of vaudeville theatres 



THEATRE MAGAZINE, SEPTEMBER, 1922 



Duse Breaks Her Silence 

The Great Italian Tragedienne Discusses Her Coming American Tour 



THE unattainable is often a goal well 
worth while our endeavors. 
For here we sat talking Eleanora 
Duse, the uninterviewable, and I, in a 
room overlooking the blue sea at Livorno. 

The unattainable had been attained ! 

"Really," she was saying, "you Americans 
do rush so. You seem to get what you want 
while we are making up our mind whether 
to give it to you or not. You know I have 
always refused to be interviewed." 

There is something so com- 
pelling of respect and rever- 
ence in the personality of 
Eleanora Duse, such dignity 
and nobility of character, that 
one bou-s instinctively before 
a great soul. 

"With all the human quality, 
the syn.,.athy and understand- 
ing which illuminates her 
tragic face, one feels inspired 
with the desire to say only 
kind and considerate things. 

The first impression of per- 
sonal contact with this great 
Italian artist is a sense of her 
fineness of character, superfine 
after the crucible of sorrow. 

And now the eloquent face 
was turned toward me with 
wondering interest. 

"But." I began a bit hesi- 
tating, "you are planning to 
go to America. When in 
America, do as the Americans 
do why not begin now just 
for practice?" 

DUSE'S EYES TURN WEST 

THE great brown eyes of 
Duse, eyes that to me are 
the saddest in the world, light- 
ened with a smile. The tragic 
lines of the sensitive mouth 
lifted and Duse laughed. 

"Do you know," she said, 
"I can't get used to your way 
of doing things always in a 
hurry. I am sure you will 
want me to discuss everything 
from the evolution of Art to 
the international situation be- 
fore you catch the train back to Florence. 
It is extraordinary. Only a short time ago 
an American came up to Trieste to see me 
and expected to settle contracts and all my 
business affairs for an American tour in an 
hour and a half. How can one do things 
well without taking plenty of time? You 
hurry so it confuses me." 

"But after all," I asked, "which do you 
think is the most effective national slogan, 
the Ital'an "Pazienza," or the American 
"Step Lively?" 

Her reply was politely analytical and a 
bit evasive. 

"I love America and American progress 
I often think that Americans must have 



By ALICE ROHE 

a great power of intuition. They don't 
seem to reflect but they act. They are 
always dashing ahead toward their goal. 
Yes" she smiled across at me "they do 
arrive, I will confess." 

The conversation had begun with a light- 
ness which I, at least, did not feel. The 
opportunity of sitting face to face with the 
great Duse, supreme actress of modern 
times, a woman who has insistently refused 
all interviews and who has fled from pub- 




ELEANORA DUSE 

A portrait that expresses in some part the dignity, sadnesi 

and mobility of the world's greatest living actress. In it 

may be perceived an odd suggestion of our own Maude 

Adams as she may seem years from now. 

licity with genuine aversion, ever since the 
unhappy circumstances of her retirement 
from the stage, filled me with real emotion. 

I remembered Duse in all the glory f 
her last American tour. And now before 
me sat a white haired woman, upon whose 
face the marks of deep suffering were in- 
delibly traced. 

Although I had glimpsed her at her works 
of charity during the war, I had never 
fully realized until now what sorrow can 
do to the face of a super-sensitive woman. 
What makes the tragedy in Duse's face the 
more poignant is the nobility of character, 
the white flame of spirituality, ever strug- 
gling to conceal her sorrow. 

[137] 



I could well believe the stories that it 
has cost Eleanora Duse a great sacrifice to 
come out of the shadows into which she 
had shrunk for the past sixteen years, back 
into the limelight of the theatre. 

Personally I have never studied a more 
sensitive face nor have I ever seen eyes ex- 
pressive of more sadness. Yet her occa- 
sional laugh reveals a keen sense of humor. 
And when she smiles, showing her white 
teeth, twenty years fall from her, telling 
by contrast what ravages sor- 
row can make. 

As she talked, the loose 
sleeves of a dark blue silk 
brocade robe fell from her 
beautiful hands young hands 
with long, delicate, slender 
fingers. 

It was eleven o'clock in the 
morning when Duse received 
me in her apartment at the 
Palace Hotel, Livorno (Leg- 
horn), a place J had, from 
childhoo-' as -iaicd with hens 
and hats. It was the last 
place in the world I had ex- 
pected to make an artistic pil- 
grimage. 

But Duse was giving two 
gala performances at the 
Goldoni Theatre. Here in 
this seaside town she presented 
Ibsen's "The Lady of the Sea" 
and Marco Praga's "T h e 
Closed Door" (La Porta Chi- 
usa), with that rare art which 
years cannot dim. 

WHAT SHE WILL PLAY 

TO me, Ibsen is one of the 
greatest dramatists of all 
time." she was saying. "It is 
impossible to discuss national 
phases of art today without 
deep study but the Scandina- 
vian mind has, for the past 
thirty years, been producing 
great drama. 

"W ,at a sustaining force is 
Art both for a nation and an 
individual!" 

"Are Americans fond of 

Ibsen?" she asked suddenly. "You know, .( 

I come to America, I will present a numb' 

of Ibsen plays. There is a play by a ^ 

Italian dramatist I feel sure 

public will like too, for it 

a great human emotion-i 

Closed Door' is a drama 

'The Lady of the Sea' 

mind. When I give bi 

like to give these t- 

appeal. I believ 

sponsive to sen'-' 

greater study 

maternal ?" 
Duse's f 




Moira!' 



'it J heir Names 




"I understand that in America there are 
many very young actresses of real talent 
who dominate the stage today. One hears 
so much of this spirit of youth which per- 
vades your country. I am so anxious to 
make a tour of the United States and to 
come face to face with these young con- 
trolling creatures. I want to study your 
stage and meet these young artists who are 
re-creating Art. For me it will be a 
spiritual tour, a breath of new life!" 

There was something inexpressibly sad 
as this great artist whose genius was lost 
for so many years to the public, spoke so 
appreciatively of youth. 

"I look toward America as the land of 
optimism. That is your great national 
asset, isn't it? It is this spirit of optimism 
which has made you a progressive nation. 
You are too young a country to feel in- 
hibitions and fear. And now we must all 
turn to you for fresh hope. Your psychol- 
ogy is quite different from other countries 
for one great reason today. Even though 
America entered the war and suffered, the 
country was never invaded and no unin- 
vaded land can ever have the same outlook 
on life as a country that has known the 
ravages of alien forces." 

"And do you think these things show 
in the drama of a country?" I asked. 

"Of course," she replied. "National life is 
reflected in ':he artistic output of any coun-- 
try. I cannot speak intelligently of modern 
American drama but I understand that you 
are producing exceptionally exciting plays, 
melodrama, mystery, detective dramas. 

"I am greatly interested in your young 
dramatists. Who knows but what one of 
them may write a play for me! How I 
should love that! I have such confidence 
in youth. Here in Italy I am always in- 
terested in the works of young playwrights. 
I do believe so in encouraging them." 

Everyone in Italy knows how Eleanora 
Duse has interested herself in helping 
young artists along the road from which 
she retired. Both dramatists and actresses 
owe much to this great artist. 

"But I am told that America today is 
really the land of the precocious, that 
every professional field has been practically 
taken over by astoundingly young people. 
I am so anxious to see this land of youth!" 



There is no affectation in Duse's talk of 
America, no posing to please. She is sin- 
cerity itself. 

In fact, there is no pose either on or 
off the stage about this unusual woman. 
Sitting there in her salon, her long, exqui- 
sitely expressive hands pushing an occa- 
sional white strand of hair from her fore- 
head, she is the same Duse as on the stage, 
in one commanding detail. There is not 
even a trace of powder on her face. 

Few actresses would have the courage 
to face the footlights without make-up as 
does Duse. 

USES NO MAKE-UP 

THEY must take me as I am," she said. 
"I have never used make-up and I 
never expect to. One must be absolutely 
natural upon the stage. It is not necessary 
to exaggerate one's features any more than 
it is necessary to exaggerate actions. Real 
art comes from the correct portrayal of 
emotions." 

Indeed, intimate friends of Duse who 
have suggested that she use make-up have 
met with the unchanging response: 

"If they do not like me as I am, they 
need not come to see me. I am as I am." 

This same unswerving spirit has made 
Duse a remarkable figure in a field of 
far greater range than the theatre. She 
is unique in the story of woman. Only a 
woman of great dignity and nobility of 
character as well as fineness of sentiment 
could maintain the unbroken silence re- 
garding the disillusions which cast the 
spirit of tragedy over her life. 

There is one subject that is never men- 
tioned to her by even her most intimate 
friends. The incidents which led to her 
retirement from the stage, shadowed with 
sorrow, are as the title of her play, a 
"Closed Door." 

No tempting offer of alluring financial 
figures has ever succeeded in obtaining 
from her any reference to her version of 
the story revealed in D'Annunzio's "II 
Fuoco." No dazzling sum of money has 
ever impelled her to refer to the events 
which made of her life a tragedy more 
over-powering than any drama she has ever 
portrayed. 

Naturally, I reflected, looking at the 



sensitive face beneath the white hair, fine- 
ness of character takes its toll in suffering. 

And when I asked her if she were pre- 
paring her memoirs, she raised her hands 
in protest. 

"Please let us not talk of memoirs 
The future and the present let us talk 
of them." 

Then quickly changing the subject she 
began to talk of American literature with 
real understanding and appreciation. 

"I have always had great admiration for 
a country that has produced an Emerson 
and a Walt Whitman in literature and a 
Washington and a Lincoln in public life. I 
regret that I do not read English for one 
loses so much national spirit through trans- 
lation. Still French and Italian transla- 
tions have given me an opportunity of be- 
coming acquainted with many of your best 
writers. Few philosophers appeal to me as 
does Emerson and as for Whitman I have 
always thought of him as the spirit of 
America." 

While Duse thinks Americans are 
always in too much of a hurry about 
everything, she appreciates the fact that 
American women have arrived at a stafp of 
comparative freedom before other nations. 

"It seems to me that the American 
woman is the most respected and the freest 
in the world. I admire the freshness of 
viewpoint and the independence of thought 
and action which characterizes these wo- 
men. Of course, Italian women today are 
freer than before the war, but freedom 
as it exists in America unconscious free- 
dom does not exist here." 

Through the broad window, behind a 
vase filled with red roses, the picture of sail- 
boats on a sunlit sea framed a background 
for Duse's expressive face with its crown 
of white hair. Something extremely fragile 
in spite of the strong spirit shining from 
her eyes, suggests itself in Duse's physical 
appearance. 

I wondered just how she felt about play- 
ing again after her determination never to 
return to the stage. And I asked her if 
the long season had fatigued her. 

"No no I am quite well," she replied, 
and I longed to hear her add, "Quite well 
and happy." 

(Continued on page 186) 




m ft ettim ft Mai, 



PLAYS 
By Harold Seton 



Plays that are rapid, 

Plays that are slow, 
Plays that are vapid, 

Plays that are low, 
Plays that are sneaky, 

Plays that are frank, 
Plays that are freaky, 

Plays that are rank, 
Plays that are horrid, 

Plays that are bold, 
b. 



Plays that are torrid, 

Plays that are cold, 
Plays that are cheerful, 

Plays that are tough, 
Plays that are tearful, 

Plays that are bluff, 
Plays that are treason, 

Plays that are vile: 
Once in a season 

One that's worth while! 



[138] 



THEATRE MAGAZINE, SEPTEMBER, 1922 










Campbell 



SIDNEY BLACKMER 




JOANNA RODS 



Muray 





Royal Atelier Mortal! 

MARTHA BRYAN ALLEN GLENN HUNTER 

THE YOUNGER PLANETS 
A Quartette of Brilliant Young Players Who Are Coming to Need no Further Introduction Than Their Names 

[139] 




A icene in the sumptuous production of "The Pretenders," Ibsen's most famous historical play, based on the colorful medieval history 
of Norway. On the cathedral steps are seen the principal characters of the play, King Haakon, Bishop Nikolaus and Earl Skule. 



IBSEN AS PLAYED IN 
A Few Unusual Photographs of Recent J\olaLle 



[140] 



THEATRE MAGAZINE, SEPTEMBER, 1922 







An unusual atmosphere of reality is found 
in the above scene from the National The- 
atre's production of "The Wild Duck." 
David Knudsen is seen as Hjalmar Ekdal 
with his arm outstretched, and Gerda Ring 
as Hedwig at the extreme right 



(In oval) The noted Norwegian actor, 
Egil Eide, an Dr. Stockman in Ibsm'i 
social drama "An Enemy of the People." 
The actor was dressed and acted the part 
in the likeness of the great national poet 
Bjornson 





"Hedda Cabler," with the highly popular actress, Mrs. Ragna Wettergreen as Hedda (second from left) and the Director of the 
National Theatre at Christiania, Halfdan Chrif.ensen, as Ejlert Lovborg at the extreme right 



HIS OWN COUNTRY 

Productions in the National Theatre of Norway 



[141] 



What Is An "Actor-Proof" Scene? 

An Eminent Critic and Observer Comments On One of the Mysteries of the Theatre 

By JAMES L. FORD 



THE successful production of a play is 
not, as so many thinkers of the owl- 
ish school believe, a purely literary 
achievement, but one that bears a close 
resemblance to a feat in gastronomy. There 
is, however, this difference between the 
two, for whereas the last named is accom- 
plished by a single cordon bleu who scorns 
both advice and interference, the other 
calls for the services of producer, dramatist 
and actor, and the work of the three is so 
closely blended with that of the press agent 
that no layman can tell where the one be- 
gins or the others end. The play-goer who 
has enjoyed an evening's entertainment 
goes home in the belief that he has seen 
a fine actor and does not always give due 
credit to the dramatist who has given new 
proof of the old saying that "good plays 
make good actors." This inability to dis- 
criminate is highly pleasing to the manager 
who has a long term starring contract with 
the player while his interest in the play- 
wright ends with the run of the piece. The 
drama in question has been chosen, not be- 
cause it was the best one offered but be- 
cause its third act contained what is termed 
an "actor-proof scene" cunningly devised 
to exhibit the player's talent at its best. 

THE PLAYWRIGHT'S TASK 

AN. "actor-proof scene" is one in which 
no player of even moderate skill and 
experience can go wholly astray. The 
building of such scenes is one of the most 
ancient of theatric arts and the one most 
favored by modern conditions for it can 
be used as a substitute for genuine mimetic 
ability. The skill with which Shakespeare 
wrote plays containing more than one part 
that was "actor proof" in every scene is 
ample proof of the absurdity of the Bacon- 
ian theory, were any such proof needed. 
Clyde Fitch devoted much of his genuine 
talent to the construction of parts that 
brought stellar honors to many an actress, 
for which reason, perhaps, but little of the 
work in which he was so prolific survives 
him. Ripe scholastic thought has occupied 
itself of late in sage comment on the plays 
of Eugene O'Neill but, so far as I know, 
not one of these academicians has given 
him credit for the effective "actor-proof 
scenes" in several of his plays. 

So far as it applies to the stage there is 
some degree of truth in the phrase, fre- 
quently on the lips of malcontents: "Cri- 
ticism does not exist in this country." 
Largely speaking, dramatic criticism has 
passed into the hands of academicians and 
young men, for the most part college grad- 
uates, who, by reason of their tender years 
are not guided by the higher standards 
of the past. 

Now the theatre is an intellectual democ- 
racy that defies the comprehension of the 
scholastic mind and even the highly cul- 
tivated one. Very few of either class 
realize that literature and the drama are 



very far apart and not amenable to the 
same laws. Such lore as the academician 
possesses is confined to dramatic construc- 
tion, but as there is no Chair of Acting 
in any American university his ignorance 
of that delightful art and it is an art 
is abysmal. In his discussions of the Shake- 
spearean dramas he concerns himself with 
the reading of the lines whether the actor 
should say "stings and arrows," or "stings 
and arrows," or "stings and arrows"- and 
pays no heed whatever to the manner in 
which the lines are listened to and thus 
carried across the footlights into the minds 
of the audience. He is easily fooled by 
the uncouth gyrations that pass current as 
"intellectual acting" at those special mati- 
nees that harbor so many offenders against 
dramatic art. 

ACTOR-PROOFING "RIP" 

THE younger dramatic commentator is 
a chosen disciple of the elder, and, if 
a little learning be a dangerous thing, how 
much more dangerous is that learning when 
it is tainted at its source by scholastic 
heresy ? 

But who is there among the playwrights 
of recent years whose genius in work of 
this description is comparable with that of 
Dion Boucicault ? We have only to con- 
sider what he did with "Rip Van Winkle" 
to realize that he \vas a complete master 
of his craft. 

The story on which this play is founded 
was given to the world by Washington 
Irving a century ago and soon attracted 
the attention of actors and others skilled 
in stage-craft, for the lovable qualities of 
the easy-going village loafer who preferred 
fishing and hunting and the joys of the 
tavern to the constant nagging of his wife 
had an almost universal appeal to men if 
not to women. Many were the pens that 
busied themselves with attempts to adapt 
the sketch to use behind the footlights. As 
the American dramatist was then a neg- 
ligible factor in theatric affairs the work 
was undertaken by actors, each one of 
whom saw himself in the title role. Hackett 
tried his hand at it, as did Joseph Jeffer- 
son's father and, finally Jefferson himself, 
to whom the possibilities of the character 
appealed more strongly than to any of the 
others. Not one of these men, competent 
as they were, was successful, nor could any 
of them understand why a play founded 
on such a widely read tale and built around 
such an attractive character should invari- 
ably fail. Perhaps if there had been women 
dramatists in those days the result might 
have been different. 

BOUCICAULT'S GENIUS 

TDUT Joseph Jefferson did not despair, 
-L* for he had become obsessed with a 
desire to play the part, and on a visit to 
London in the Sixties he brought his manu- 
script to Dion Boucicault anc 1 asked him 



what was the matter with it. It needed 
but a single reading to reveal the weakness 
of the play to that astute dramatist. He 
saw that no matter what the charm of 
the actor playing the chief part women 
would not accept as a stage hero a man 
who caroused in the tavern while his wife 
did the washing. Accordingly he set him- 
self to the task of redeeming Rip in 
the eyes of women. In the first act 
he presented him frankly at his worst as 
a worthless but good-natured idler who 
could not refuse an invitation to drink. 
Then he made him kind to the children 
who came trooping lovingly about him a 
direct route to the sympathetic feminine 
heart and to the dog, Schneider, whom 
nobody saw. Knowing well that in every 
feminine soul there lurks a thorough de- 
testation of such of the sex as are termed 
"cats" this wise student of humankind 
showed Rip's wife to be a nagging terma- 
gant of the worst description, so that every 
woman in the audience said to herself: "If 
that man had only married a nice woman 
what a difference it would have made in 
his character!" 

A LITTLE KNOWN FACT 

IT had been apparent to previous adapters 
of the story that the ill-assorted couple 
must be separated, but the manner of that 
separation had proved the rock on which 
every one of them had foundered. Bouci- 
cault's solution of the problem crowned 
his handiwork with a master-stroke of 
genius. It was evident to him that one of 
the two must put the other out of the 
house, but how was that to be accom- 
plished? For the husband to drive his 
wife out would be to rob him of every 
particle of the sympathy his dramatist had 
been at such pains to win for him. Were 
Rip ejected, many women would say that 
it served him right. Boucicault deliberately 
traded on that fear of thunder and light- 
ning which is the heritage of every woman 
and had his hero driven out into a fierce 
storm of wind and rain accompanied by 
peals of thunder and dazzling flashes of 
lightning that brought the curtain down 
on a house shaken with sobs. The last act 
was absolutely "actor proof" for while the 
audience knew that the Revolution had 
taken place and that Rip had been asleep 
twenty years, and the other characters were 
aware of the political changes, Rip knew 
nothing of either happening and was of 
necessity the centre of interest. 

It was in the year 1865 that the Irish 
dramatist delivered his work to the actor 
who appeared in it almost continuously for 
forty years, and within a few weeks of the 
present moment of writing I have received 
a message from a London manager asking 
where the Boucicault version could be ob- 
tained. By common consent the credit for 
the popularity of the piece was given to 
(Continued on page 188) 



[142] 



THEATRE MAGAZINE, SEPTEMBER, 1922 




Study by Rabinovitch 



KOTCHETOVSKY of the CHAUVE-SOURIS 



Whose Rare Artistry Makes His Dance "The Clown" a Gem of Pantomimic Emotion 

[143] 




Alfred Cheney Johnston 

ELEANOR PAINTER 

Whom September will find back at the 
Century in a new musical offering, "The Lady 
of the Rose," an importation from London 

RUTH CHATTERTON 

Who will shortly open in "La Tendresse," an 
adaptation from Bataille done by herself 
which was received with great favor during 
a try-out with Henry Miller in San Francisco 






Morrall 

MARJORIE RAMBEAU 

To be seen in another French play, this time 
"The Wedding March," one of the several 
Bataille adaptationi to be done this season 

FAY BAINTER 

Whose manager, William Harris, Jr., is re- 
solved she will be seen in New York again 
this season even if he has to write the right 
play for her himself 



White 



MARIE TEMPEST 



Who, with her husband, Graham Browne, 
has traveled an astonishing number of 
miles from the Australian hinterlands and 
returned at last to New York to play in 
Arthur Richman's new comedy, "A Ser- 
pent's Tooth" 




Abbe 



Abbe 



STARS TO TWINKLE IN FALL SKIES 
Great Favorites Who Will Be Seen On Broadway I:i Nciv Productions 

[144] 



THEATRE MAGAZINE, SEPTEMBER, 1922 



The Rise of the Curtain 

A Forecast of What Broadway is to See and Hear the Coming Season 

By JOHN VAN DOREN 



PIN the red badge of courage 
upon the valorous breasts of 
New York's producing managers. 
Scarcely was the most disastrous sea- 
son of 1921-22 decently buried with 
fitting obsequies before arrangements 
for a vigorous campaign for the com- 
ing theatrical year were inaugurated. 
And at this moment, in spite of labor 
troubles, business lassitude and a 
hesitant public, more plays are in 
process of preparation than have been 
launched in several seasons. A chat 
with our leading managers about the 
productions pending or already under 
way reads like a philosophical lecture 
delivered in several keys. 

NEW FORBES COMEDY 

A L. ERLANGER, who scoffs at past 
difficulties and loves to ride the 
storm, admits that last season was 
calculated to try men's souls. Never- 
theless, his broad vision sweeps a 
wider horizon than that which bounds 
the theatre alone, and he declares that 
in the world-wide fusions and confu- 
sions, commercial, political and intel- 
lectual, that have prevailed on both 
sides of all the seven seas, the amuse- 
ment business has scarcely been con- 
fronted with more than its share of 
disaster. And Mr. Erlanger's theatri- 
cal interests will be as far-flung and 
various as ever during the coming 
season. While his plans have not yet 
so far matured as to be given concrete 
listings, apart from a new comedy by 
James Forbes of "The Famous Mrs. 
Fair" fame, he will, in conjunction 
with Florenz Ziegfeld and Charles 
Dillingham, project a number of im- 
portant ventures into the theatrical 
arena. Mr. Erlanger's first novelty 
will be a brilliant production of Kal- 
man's new operetta, "The Bayadere," 
now the sensation of Berlin, which is 
heralded by all who have seen it as 
a sure-fire American hit, bound to live 
as long as Mr. Erlanger's famous 
"Ben-Hur" the very Methuselah of 
the stage. 

"This is a time for the survival of 
the fittest," says Al H. Woods, who 
recently came home from Europe stag- 
gering under a load of new plays cal- 
culated to bring joy to the hearts of 
actors looking for engagements. "Of 



course," murmurs Mr. Woods slyly, 
with a crooked smile, "differences of 
opinion as to what is 'fittest' in the 
drama exist between myself and cer- 
tain impure puritans, but I claim par- 
don for a mild complacency over the 
fact that all my plays have triumph- 
antly survived the crash and carnage 
of last season." 

WOODS' LONG LIST 

AMONG the enterprises claiming 
Mr. Woods' immediate attention are 
Somerset Maugham's sensational Lon- 
don hit, "East of Suez," which will be 
done here with an impressive cast, not 
yet fully selected. The last two plays 
by Bataille, "The Wedding March" 
and "A Child of Love," voyaged from 
Paris in Mr. Woods' manuscript trunk, 
as did "Le Retour" by de Fleur& and 
Croisette. Three unwritten plays 
by each of two prominently popular 
French dramatists are also contracted 
for by this manager. This sextette 
comprises the next three plays by 
Andre Picard, who wrote "Kiki," and 
by Alfred Savoir, whose chaste type- 
writer clicked off "Bluebeard's Eighth 
Wife," a season or so ago. Like the 
late Augustin Daly and William Gil- 
lette, Mr. Woods regards Berlin as 
the happy hunting ground for the 
dramatic Nimrod who seeks the merry 
and ever adaptable farce. 

He captured there no less than seven 
mirthful vehicles, together with a num- 
ber of more serious plays and a fine 
bag of musical pieces. Among the 
latter is one that is likely to be pro- 
duced under a different title from 
"Gri-Gri," which is of Viennese origin 
although brought down in Berlin. The 
music of "Gri-Gri" is by Lincke whose 
tinkling "Glow Worm" is still whistled 
on Broadway many years after its 
introduction in "Three Twins." A 
comedy, "Gretchen," which, to quote 
the producer, "has had Berlin in 
stitches" for over three hundred nights, 
will be shown to New York audiences 
in the early part of the season. "The 
Bad Girl," which will also enliven 
Broadway, is not likely to be so shock- 
ing as it sounds, since the vernacular 
"Bad" will be transformed into "Bath- 
ing." "This is a clean play," explains 
Mr. Woods. "Paul and Pauline," 



"Furnished Rooms to Rent," "Orches- 
tra Seat No. Ten," "The Woman in 
the Mask," "The Spring Board," "The 
Chaste Lebeman," "Femina," and 
"Parquette No. Six" are a few of the 
other titles of plays in Mr. Woods' 
game bag. 

Especially well does Mr. Woods 
think of "Morphia," a reigning Vien- 
nese success by Dr. Ludwig Mertzner, 
which is slated for early production 
with an old-fashioned Woods cast like 
those which startled Broadway when 
this manager produced "The Yellow 
Ticket" with John Mason, Florence 
Reed, Frederic de Belleville, John 
Barrymore, Irene Fenwick and other 
stars in an unfeatured aggregation of 
players. 

Added to this list Mr. Woods has 
purchased a group of plays which are 
at this writing tossing on the Atlantic 
en route from his purchasing head- 
quarters in Paris. He has also renewed 
his option on the last play of the late 
C. M. S. McClellan, who wrote "Leah 
Kleshna" at one pole of his achieve- 
ment as a dramatist and "The Belle 
of New York" at the other. "The Jury 
of Fate" is the tentative title of the 
McClellan piece, which will be pro- 
duced this season. 

HARRIS REFUSES TO COMPLAIN 

"W/"E'RE all alive, aren't we? And 
we've all got our health, haven't 
we?" demands Sam H. Harris, as 
his comment of the failures of last 
season. "Personally, I have no com- 
plaint to register against 1921-22. I 
begin this year with several left over 
successes still running, and a number 
of new productions that look like pop- 
ular hits under way." At the time 
of this writing, "Captain Applejack" 
at the Cort Theatre, "Six Cylinder 
Love" at the Harris Theatre, and 
"The Music Box Revue" are still 
attracting commanding midsummer 
patronage, while several new pieces 
are marking time in the provinces 
while waiting a chance to dazzle 
Broadway. Jeanne Eagles in "A 
Gentleman's Mother," has scored a 
very heavy hit and promises to be a 
Broadway feature for the whole of the 
coming season. Other attractions which 
Mr. Harris expects to show New York 



[145] 



' 










Portrait by Nikolas Muray 



MARY SERVOSS 

Whose probable appearance as Portia with David Warfield in the Belasco production 
of "The Merchant" is among the most interesting prospects of the coming season 

[146] 



THEATRE MAGAZINE, SEPTEMBER, 1911 



shortly are William Anthony Maguire's 
novelty "It's a Boy," Richard Bennett 
in a characteristic role, "A Nervous 
Wreck" by Owen Davis, and an am- 
bitious new play by Martin Brown 
with the intriguing title "G real 
Music." Claire Kummer has already 
turned over to Mr. Harris the script 
of a new play in her most amusing 
vein which will engage the stellar 
services of Roland Young assisted by 
a hand picked cast. "Pomeroy" is 
the present title of the new Kummer 
play, but a christening party at Mr. 
Harris' Great Neck cottage may give 
the piece a new name at any moment. 
Several costumers assisted by Hepner 
and all the available jokesmiths and 
scenic artists with Maestro Irving 
Berlin furiously at work at new melo- 
dies, are already constructing an en- 
tirely new Music Box Revue which 
will spring full-fledged into being 
when the October openings are well 
under way. A number of novelties 
are kept under an armed guard of 
yeomen, officered by Lieutenant-Com- 
mander Wells Hawks, U.S.N., which 
will be released from secrecy at the 
premiere of the new Revue. The 
Duncan sisters, who will star in a new 
piece of their own construction, have 
admitted Guy Bolton to partnership in 
their playwriting venture and Mr. 
Bolton has added the element of stage 
technique to the drolleries the merry 
sisters have strung together for their 
use. This list fails to include all the 
activities scheduled for Mr. Harris' 
contribution to Broadway this season, 
but he withholds further confidences 
out of consideration for the health of 
Mr. Samuel Forrest, his stage director, 
who will produce the entire output, 
with the partial exception of the Music 
Box piece, single handed and alone. 

MAURICE CHEVALIER COMING 

JT is a tradition of the Paris cou- 
lisses that when Charles B. Dil- 
lingham arrives in the French capital, 
all the dramatists in Paris camp at 
his door until he has purchased every 
reigning success that takes his fancy. 
"La Touche" and "Dede," both 
musical pieces of unexampled popu- 
larity, are his Paris purchases this 
summer. For the latter piece Mr. 
Dillingham will bring to Broadway a 
new matinee favorite in the highly 
attractive and talented person of 
Maurice Chevalier, now playing the 
principal role in Paris. 

For the entire two years' run of ' 
"Dede" in Paris, M. Chevalier has 
shared national favor with such other 



idols as Foch, Clemenceau and Joffre; 
so there seems no reason to doubt that 
the tricolor will wave gaily over the 
Dillingham stage for an extended sea- 
son. Mr. Dillingham's great serious 
offering will be the much discussed 
Galsworthy masterpiece "Loyalties," 
which he will do early in September 
with much pomp and circumstance. 
In lighter vein "Tons of Money," 
a fleetly moving farce, will be shown 
later on. Mr. Fred Stone will con- 
tinue in "Tip Top," which has been 
seen in but four cities during its 
road tour. Also will continue "A Bill 
of Divorcement," with Allan Pollock, 
and "Bulldog Drummond," which 
opens in Chicago on Labor Day. 
"Good Morning Dearie" will continue 
at the Globe Theatre its record- 
breaking run. 

MORE KERN MUSIC 

T^HE new Anne Caldwell piece, 
"The Bunch and Judy," with 
Jerome Kern's music, will be an 
early Dillingham offering. Other 
plays by Rida Johnson Young, 
Montague Glass, Fred de Gressac, 
Eugene Walter, William Le Baron 
and others will also be produced with- 
in the next fifty-two weeks by Mr. 
Dillingham. Of course, the Dilling- 
ham season's magnum opus will be 
the big Hippodrome show, which is 
now in the final stages of rehearsal. 
More massive than ever, the usual 
Hippodrome display of trained ele- 
phants will be augmented by a troup 
of sixty performing horses. There 
will be more dancers, more scenery, 
more special features, more laughs 
and more musical novelties than ever; 
and as this issue of THEATRE MAGA- 
ZINE goes to press the only thing 
still uncaptured by Mr. Dillingham 
for the newest of his Hippodrome 
shows is a name. The title for this 
sixty horse-power spectacle will be 
developed, says director Burnside dur- 
ing rehearsals by the usual Hippo- 
drome method of inspired suggestion 
from the many suggestions that present 
themselves as the spectacle takes form. 
Seated in the attitude of Rodin's 
"Thinker," Mr. Lee Shubert phi- 
losophizes pleasantly about the coming 
season. "Productions speak louder 
than words," says the Plato of Thea- 
tre Row. "Last year's vaudeville? 
Last year's road seasons? The wise 
man's eyes are in the front of his 
head ; he is too busy looking forward, 
to spend any time gazing with com- 
placency or regret at the yesterdays 
of his life." 



And for the theatrical "tomorrow," 
Mr. Shubert has scheduled for pro- 
duction an imposing list of new plays 
with continued presentation of a num- 
ber of last year's successes. Among 
these survivors will be two companies 
of "Blossom Time," Al. Jolson in 
"Bombo," M'Intyre and Heath in "Red 
Pepper," Frances White and Taylor 
Holmes in "The Hotel Mouse," Vivian 
Martin and Lee Overman in "Just 
Married," with Eddie Cantor and the 
Howard Brothers continuing for the 
present in last season's hits. 

New plays are on the tapis for Leo 
Ditrichstein and William Hodge, 
while James Barton will blossom forth 
as a full-fledged star in a novel 
vehicle not yet named. New Ameri- 
can novelists in the persons of Ben 
Hecht and Sinclair Lewis will con- 
tribute plays to the coming season, Mr. 
Lewis' "Main Street" having already 
seen the light of day. 

While Mr. Lee Shubert has been 
putting American plays into shape for 
the coming year, Mr. J. J. Shubert has 
scoured the European market and re- 
cently landed on Broadway with a 
great grist of musical and dramatic 
pieces. Among these are Pinero's 
much discussed "Enchanted Cottage," 
for which many other managers made 
bids in London, and which he will 
produce in conjunction with W. A. 
Brady, whose European visit is pro- 
longed too late for fuller mention of 
his own activities. "The Lady of The 
Rose," now packing Daly's Theatre 
in London, will be Eleanor Painter's 
next vehicle, while Tessa Kosta will 
be heard in the title role of "The 
Little Dutch Wife," a role for which 
Emerich Kalman has written some 
captivating music to a bright book 
with lyrics by Leo Stern. Several 
other English and German novelties 
are supplemented by an extended list 
of Italian plays, both lyric and dra- 
matic, which are enjoying an enthusi- 
astic vogue in Italy. 

PEMBERTON FAITHFUL TO ITALY 

"VTR. BROCK PEMBERTON, whose 
first star, Gilda Varesi in "Enter 
Madame," has inclined him to a lean- 
ing toward the land of Dante and 
D'Annunzio, has also bought a num- 
ber of Italian successes, which he will 
disclose to Broadway during the com- 
ing season. Among these are Luigi 
Pirandello's "Six Characters in Search 
of an Author," and "What You Least 
Expect," by Luigi Barzini, well-known 
to newspaper men all over the world, 
and Arnaldo Fracaroli of Milan. Mr. 



[147] 



Maurice Goldberg 






SYBIL GUNN (Left) 

and ANGE 

Two winsome and talented 

pupils of Helen Moller'i 

school of ihe dance 



(Left) 

FRANCES MAHAN 

Who has been placed under 

contract for three yeari as 

a premiere danteuse with 

the Music Box 



(Ripht) 
MARLEY 

Of the Fokine ballet at the 
Hippodrome, who will be 
seen again at the big play- 
house next season 




Maurice Goldberg 



Xickolas Muray 



A PHOTOGRAPHIC POEM OF MOTION 
Youth Whirls Joyfully Indoors and Out to the Click of a Camera 

[148] 



THEATRE MAGAZINE. SEPTEMBER. 1921 



Pemberton has contracted for foreign 
productions of "Miss Lulu Brett" and 
for "Enter Madame," which will en- 
gage the services of Lina Abarbanell 
in Berlin and Halina Bruzovna in 
Warsaw, while other actresses will 
carry the Varesi heroine to South 
America and the Scandinavian thea- 
tres. Mr. Pemberton also announces 
Lord Dunsany's "If." 

MARIE TEMPEST BACK 

JOHN L. GOLDEN'S friends call 
him the "Babe Ruth" of the stage. 
That is the Lambs Club way of say- 
ing that he expects all his plays to 
make home runs in New York of at 
least two years' duration. This pleas- 
ing record having been achieved by 
"Lightnin' " and "The First Year," 
and closely approached by "Three 
Wise -Fools" and "Thank U," each of 
these successes will continue their 
career during the coming season. 

There will be at least three com- 
panies of "Lightnin' ". One of course 
headed by Frank Bacon, who is at 
present playing in Chicago, another 
by Milton Nobles and a third by 
Thomas Jefferson. Two companies 
will present "The First Year," 
Gregory Kelly playing the role made 
familiar by Frank Craven in a tour- 
ing organization. Harry Davenport 
and Phyllis Rankin will head the com- 
pany presenting "Thank U," and Tom 
Wise will continue in "Three Wise 
Fools." Hale Hamilton and Grace 
La Rue will have a new piece, 
"Monoker," and worthy of special 
spotlight in the Golden schedule is 
the re-appearance, after many years, 
of Marie Tempest and her husband, 
Graham Browne, who have journeyed 
specially from Australia to do Arthur 
Richman's new comedy "A Serpent's 
Tooth," at the Gaiety. 

THE BELASCO PLANS 

rpHE plans of David Belasco are 
shrouded in that masterly reti- 
cence that always envelops prelimi- 
nary activities of the Belasco forces. 
"Shore Leave," however, will be 
done with Miss Starr as the heroine 
in a play by Hubert Osborne, hitherto 
known as an actor prominent in the 
cast, of H. W. Savage's production of 
"Every Woman." David Warfield, 
after a preliminary season in a round 
of familiar characters, will realize his 
long deferred hope of appearing as 
Shylock in a Belasco-Shakespearian 
production this year, and a new poten- 
tial star will be launched in the per- 
son of Miss Mary Servoss, who is to 



be presented by Mr. Belasco early in 
the season, probably as Portia. 

Miss Lenore Ulric will continue her 
remarkable characterization of "Kiki" 
indefinitely at the Belasco Theatre. 

Morris Gest will continue to pro- 
vide the "Chauve Souris" company 
with new "turns" from time to time. 
An entire change of bill is scheduled 
for October 1st and there is no doubt 
that Balieff and his merry associates 
will continue to convulse New York 
audiences at one theatre or another 
for the entire season of 1922-23. By 
a co'up of diplomacy Mr. Gest has suc- 
ceeded in healing the breach existing 
between M. Balieff and Sou.iekine, 
the great scenic artist who has been 
identified with previous "Chauve 
Souris" successes, and the new chapter 
in this merry revue will enlist the 
services of the painter who is now 
en route from Paris. Of the coming 
of the Moscovite "Art Theatre," there 
is at present an irritating uncertainty. 
Negotiations have been suspended and 
renewed from time to time, and are 
at present pending with the outcome 
impossible to foresee. Should Mr. 
Gest's well-known diplomacy succeed 
in smoothing away the difficulties pre- 
sented, New York will doubtless see 
the greatest organization of players 
ever introduced to our public, for the 
Art Theatre of Moscow is recognized 
wherever the drama flourishes as the 
embodiment of all that constitutes 
greatness in every feature of drama. 

A TRIANGLE OF BARRYMORES 

'"THE plans of Arthur Hopkins are 
" held in abeyance at present, while 
a number of important issues are be- 
ing considered. It is known, however, 
that Mr. Hopkins' well-known policy 
of fighting at the front of artistic en- 
deavor in the theatre, will be vigor- 
ously pursued. At least it can be said 
that all the Barrymores in the theatre 
will be presented by Mr. Hopkins this 
year, Ethel Barrymore having joined 
her brothers under his banner. Of 
Mr. John Barrymore's return to active 
work there exists some doubt, but it is 
confidently hoped that he will be seen 
on Broadway before the snow flies. 

The Theatre Guild will do its usual 
number of interesting plays, the cycle 
for 1922-23, including a number of 
daring foreign novelties and several 
thoughtful plays by a group of 
American dramatists headed by 
Eugene O'Neill. Present plans call 
for the production of "R. U. R.," the 
cabalistic title of a new play from a 
Czech pen, that of Karel Capek; "The 



Lucky One," by A. A. Milne, the 
"Voysey Inheritance" by Granville 
Barker, and probably Ibsen's "Peer 
Gynt," with Joseph Schildkraut of 
"Liliom" fame in the title role. "Masse 
Mensch" by Ernst Toller, and at least 
one Shaw play are also scheduled. 

"MERTON OF THE MOVIES" 

'T'HE plans of George G. Tyler in- 
clude a number of activities, all of 
which so far as scheduled will con- 
tinue Mr. Tyler's policy of projecting 
the work of American dramatists. 
"Dulcy" and "To the Ladies," will 
continue their merry career, and 
Harry Leon Wilson's "Merton of the 
Movies," with Glenn Hunter as the 
dreamy young idealist unafflicted by 
any sense of humor. 

William Harris, Jr., is still des- 
perately trying to locate a script for 
Fay Bainter, who, from all re- 
ports, is finally wearied of doing 
the perennially popular "East is 
West." Every play hack-smith and 
genius along Broadway has assailed 
the Harris office with a script or an 
idea, but so far nothing has been 
forthcoming of definite interest. It it 
possible that Mr. Harris will have to 
look abroad for a piece suited to his 
enormously popular star, whom he has 
resolved to have re-appear in New 
York this Fall. Among other Harris 
plans are included a production of 
Alfred Savoir's new comedy "Banco," 
being done into whimsical English by 
Clare Kummer. A new Tarkington 
play, tentatively entitled "Kunnel 
Blake," and Galsworthy's new play, 
"Windows," which was received with 
interest in London, are also on the 
Harris list. Mr. Harris awaits the 
script of John Drinkwater's "Robert 
E. Lee," which may prove the chef- 
d'oeuvre of the coming Harris season. 

ANOTHER RICHMAN PLAY 

'"PHE Charles Frohman offices, now 
headed by Gilbert Miller, will start 
the season with a production of "The 
Awful Truth," a new comedy by the 
prolific Arthur Richman which had 
tremendous success during a Coast 
try-out with Bruce McRae and Ruth 
Chatterton in the leading parts. The 
Richman piece will open in September 
at the Henry Miller Theatre with 
Ina Claire as star. A further pro- 
duction of the Frohman office will be 
that of "The Swan," a new Molnar 
comedy of royal personages which is 
being played with great success in 
Budapest. The production will have 
(Continued on page 184) 



[149] 




Photography by Charlotte Fail-child 



MACBETH : "MY DEAREST LOVE . .' 



Ian Kieth and Blanche Yurka make Shakespeare's tragedy seem a romance 
in this charming impression posed specially by these two well-known players 

[150] 



THEATRE MAGAZINE, SEPTEMBER, 1922 



Mr. Hornblow Goes to the Play 



The Pin Wheel Revue 

Produced at the Earl Carroll Thea- 
tre, June 15th, with the following 
principals: 

Raymond Hitchcock, Frank Fay, Rosalind 
Fuller, Margaret Petit, Felicia Sorel, Senia 
Gluck, Michio Itow, Hazel Wright, Eva 
Clark, Louise Riley, Ragina Devi, Lillian 
Greenfield, Marie Viscardi, Florence 
McGuire, Victorio White, Josephine Head, 
Maria Montero, Patricia Gridier, Hamilton 
Condon, John Burr, Phyllis Jackson, Mer- 
cedes Guthrie and Maurice Black. 

A BIZARRE, fantastic and at the 
same time hopelessly dull enter- 
tainment came into the Earl Carroll 
under an extraordinary assortment of 
sponsoring names as a preliminary 
contribution to the barrage of summer 
shows. A more unusual combination 
of rich artistry literally messed by 
incongruous, inappropriate comedy in- 
terpolations has rarely been seen on 
Broadway. The "Pin Wheel Revue'' 
was and should have remained a 
carnival of dancers. It started that 
way under the general leadership of 
the talented Japanese Michio Itow, 
variously assisted by fellow artists, 
and then fatefully and a bit obscurely 
passed into the hands of Raymond 
Hitchcock, who, apparently inspired by 
the way Balieff "sees through" the 
Chauve-Souris, undertook to make a 
similar effort. 

Rosalind Fuller with her always 
gracious manner and charming songs, 
Margaret Petit with several ballet 
dancers in a dance after the paint- 
ings of Degas, a "tramp ballet" of 
five hooligans attired amusingly in 
shabby clothes of pure white, and a 
dance called "Faun and Nymph" by 
Felicia Sorel and Senia Gluck were 
the outstanding moments of artistry 
in the oddly mingled bill. But be- 
tween each of these numbers and be- 
tween many other almost equally 
lovely Mr. Hitchcock and his side 
partner, Frank Fay, issued before the 
audience and with a humor of the 
sort that is customarily improvised at 
rehearsal by old hands at the gentle 
art of give-and-take comedy utterly 
destroyed the peculiar illusion and 
spirit conveyed by what had gone be- 
fore. Those who had enjoyed the lat- 
ter could not conceivably enjoy the 
heavy-footed Hitchcock fun, and those 
in the audience who could find smiles 
in the latter would have no possible 
use for the dances and songs. I have 




never seen in the theatre a more ab- 
surd combination of offerings. And 
certainly the one comedy sketch in 
the bill, "The Shaving of the Hairy 
Ape" as its name implies would do 
shame to a band of freshman ama- 
teurs. In fact, no college show I have 
seen ever committed anything half so 
stupid and banal. 

The "Pin Wheel" has gone. But 
it will return, and I rather suspect 
that when it does return, it will be 
the loveliness of it that will endure 
and the rest will be gone. A more 
generally beautiful assortment of 
dance conceptions I have never found 
in a revue before. And if there is 
one unusual artist in the lot it is a 
young man named Senia Gluck of 
whom I had never heard before but 
of whom I shall assuredly hear again. 

Incidentally, it is of interest to know 
that a well known photographer 
Bruguiere helped in the staging of 
several of the ballet and dance num- 
bers. It is not a bad idea to have as 
adviser a camera artist whose life and 
training has been devoted to the study 
of light value. 



The Chauve-Souris 

THE "Chauve-Souris" has gone into 
a second edition and will un- 
doubtedly go into a third and fourth 
and will be with us perhaps as long as 
that other "Bat" which lingers reso- 
lutely at the Morosco. The revised 
version of the popular Russian vaude- 
ville carries over a number of the 
"hits" of its opening bill, notably, of 
course, "The Parade of the Wooden 
Soldiers" and "Katinka" which have 
become by-words. The company 
still under Balieff's eye performs 
now at the Century Roof, which has 
been colorfully redone by Remisoff to 
resemble the interior of a true Musco- 
vite playhouse. The expanse of the 
roof theatre does not lend itself as 
well to the intimate nature of the en- 
tertainment as did the 49th Street 
house, but the breezes from Central 
Park made forgiveness on that score 
easy. 

The big discovery of the new bill 
and an act which for me so far 
outdoes anything else the Chauve- 
Souris has created artistically that it 
deserves mention alone is a dance of 



marvelous conception and execution by 
M. Kotchetovsky. As a clown issuing 
from the lights of the arena into the 
silence and loneliness of his dressing 
room, he plunges eloquently and ex- 
quisitely into pantomimic expression 
of the creature's fate and life and 
hopes and despairs. In three minutes, 
Kotchetovsky achieves all and more 
than Bennett achieved in three hours 
of "He." His is a notable and beauti- 
ful piece of work and in itself more 
than warrants the importation of the 
talented band of the "Chauve-Souris." 



Spice of 1922 

Produced at the Winter Garden, 
July 6th, with a cast among which 
were: 

Valeska Suratt, Arman Kali/. Jimmy Hus- 
sey, James C. Morton, Adele Rowland, 
Sara Hearn, Florence Browne, Cecil d'An- 
drea, Harry Walters, Hasoutra, James 
Watts, Jane Richardson, Midgie Miller, 
Flavia Arcaro and Will Oakland. Book by 
Jack Lait. 

A SHOW hurle;! together in its 
formative days in a fashion 
destined to guarantee either complete 
disaster or great success with Valeska 
Suratt riding proudly at its head and 
joined up by the experienced but 
somewhat hackneyed pen of the prolific 
Jack Lait has come into the Winter 
Garden under the title "Spice of 1922." 

I rather suspect that "Spice of " 

will be a new and fairly permanent 
addition to the list of perennial pro- 
ductions. Somehow or other, a bit 
mysteriously, perhaps, but none the 
less certainly, a personality has crept 
into the entertainment and made itself 
felt. It may be Suratt, perhaps Lait, 
possibly Allan K. Foster who has done 
a fine bit of work with little material 
in staging the production. Or it may 
be no one at all, but the magical com- 
bination of good things and bad which 
go to make up a show that rather 
makes one think back on it. 

Certainly nothing worse has ever 
been seen on a professional first class 
stage from the standpoint of taste, 
humor and intelligence than an 
absurdity called "Lilies of the Field," 
an exhibitionistic glorification of 
Mile. Suratt yet on the other hand 
few funnier things have been seen on 
Broadway than the sketch "All Night 
Long," a thing that in its broadness 
(Concluded on page 1*6) 






[151] 




Portrait by Ahhe 



THE BEAUTY AND 



Lenore Ulric caught in an unusual and striking mood. 
A favorite portrait of the endlessly popular "Kiki" 



[152] 



THEATRE MAGAZINE. SEPTEMBER, 1922 




THE BEAST 






Portrait by Abbe 



An extraordinary cameo-like study of Louis Wolheim 
in his splendid characterization of "The Hairy Ape" 

[153] 



Captain Pollock 

Broadway's Leading Actor-Hero Gives a Glimpse Into the Reason for 
British Actors Being Good Ones 



By ADA PATTERSON 



DON'T say anything about the war, 
please. I've been saying this ever 
since I came back but nobody minds, 
for some reason. I mean it seems so 
unfair that thirteen of my chums in the 
same battalion, the Argyle and Sutherland 
Highlanders, should have been killed and 
that I dragged my weary bones back here 
to kind America and got my name in 
electric lights above the door. It isn't 
right, is it?" 

It was eminently right that Captain 
Allan Pollock should import back his 
weary bones, and his slow speech, and his 
languid air, to entertain us. I said so. He 
answered with a little sigh, "So many 
of my friends, such good fellows, are 
gone. Why should I be staying on, I 
wonder?" 

It was not why, but how, that most 
concerns us. How could a man, of frailest 
physique, whose long body suggested brit- 
tleness as long ago as sixteen years, when 
he made his first visit to this country, have 
survived the havoc war had wrought in it? 
He served for four years and paid for the 
service with three years in the hospital. 

He survived eleven operations upon the 
body, never more than seventy percent 
strong. Thirteen pieces of shrapnel were 
removed from his body. Eleven splinters 
of shrapnel, irksome companions, he has 
ever with him. A part of his jaw was shot 
away. It has been replaced by silver. His 
liver was bayonetted. Yet this patchwork 
of torn flesh and mended bones is animated 
by a spirit so fine that Captain Allan 
Pollock is known the length of Broadway 
and the height and depths of the Lambs 
Club as the most popular British actor in 
America. 

"It is supposed that I am an Englishman 
because I have played in the provinces. I 
am a Scotsman. But practically all my 
days at Perth were just kid and circus days. 
They're long ago, but not forgotten." 

"And you are a bachelor?" I asked. 

"Yes," he admitted, "but not from 
choice. It has always been my ambition to 
be married." 

WANTS TWENTY-FIVE CHILDREN 

I OBSERVED that that might easily be 
contrived. "That is something that can- 
not be forced," was his cryptic reply. "And 
to have many children," he continued. 

"How many?" 

"Twenty-five or thirty." 

"If that ambition becomes known you 
will remain a bachelor." 

An abbreviated laugh from the hero of 
the barrages of Ypres and we were back 
again at Perth. 

"I was one of eleven children. We were 
eight boys and three girls. I came about 
the middle of the series. We were of that 



large number of any nation, the lower 
middle classes. We all had to work 
hard at anything we could find to do. 
I used to run errands. 

"My family did not oppose my go- 
ing on the stage. It was glad to be 
rid of the burden of me. Nothing of 
that tosh about having tea with Lady 
So and So, who asked me to appear in 
amateur theatricals, w h i c h brought 
about my going on the stage. No. 
My family was glad to see me earning 
something and making my keep. It is 
good to be reared in the rough and 
tumble of a large family, though there \ vhi 
is something cruel in it, too. Still I am 
not in favor of the new cult of birth 
control. Why curtail the Anglo-Saxon 
race and let others rule the world ? 

"I had a fair voice in my youth. I 
began in the music halls. It was easy 
enough to get a chance to sing the tenor 
roles of Hayden Coffin, after the musical 
comedies reached the provinces. Think of 
my temerity at nineteen, playing leading 
roles in Dion Boucicault's dramas, "The 
Shaugran" and "Colleen Bawn" and "Ar- 
rah na Pogue," on tours that included 
Ireland itself. 

AMERICA'S STAGE MOST HOSPITABLE 

NERVE? No. Boyish fatuousness and 
ignorance. I was at that vealy age 
when I was convinced that I was a great 
actor. It took three years and fifty friends 
to convince me that I was not as gifted as 
I thought I was. Not by long odds. 

"I began in earnest then to learn the 
art of acting. I believe I went to the best 
dramatic schools in the world, the best of 
the touring companies. Greet and Benson 
have developed more and better actors than 
has any school. I played Shakespearean 
repertoire. Edward Terry engaged me for 
his leading man. 

"Sixteen years ago I came to America," 
Mr. Pollock pronounced the name with 
tender respect that deepened into reverence. 
"What this country, Broadway, the Ameri- 
can actors have done for me ! It has the most 
hospitable stage in the world. And the best. 
Yes, London has been surpassed by it. The 
dramatists are doing more vital work here. 

"It has three of the greatest world fig- 
ures of the stage. David Belasco and 
George M. Cohan are running a neck and 
neck race for world leadership in different 
types of entertainment. No one else can 
do the light, subtle comedy as Henry 
Miller does it. 

"America caused me my first stage fright. 
It was when I made my first appearance 
in New York. It was with Mrs. Pat 
Campbell in 'Magda'. But I recovered 
from my first awe of the country when I 
went on a tour of seven months of one 
night stands." 




ALLAN POLLOCK 

Who has risen from three years a-bed in the 
war hospitals of France and England to be- 
come one of Broadway's most interesting 
actor-producers 

How he developed his characters to their 
degree of poignant and pathetic truth as 
in "The Bill of Divorcement" and in his 
first essay as "A Pinch Hitter," Mr. 
Pollock told in sententious phrase. "I con- 
centrate on the part. I read the play at 
least three times, to understand the relation 
of my part to the rest. Then I concentrate 
on the character I am to play. I play it 
through the medium of my own personality. 
The personality is the gun. The character 
in the play is the bullet. We must streng- 
then our personality. By so far as we 
strengthen that we give power to the role 
we play. 

"Comparisons are especially odious in 
regard to actors. A player should be judged 
by the individual performance. I heartily 
agree with Henry Arthur Jones, who, to 
my mind, is one of the greatest present day 
dramatists. He told me that a character 
in a play could be interpreted in twenty- 
five ways and each correct from the varying 
viewpoints. He said he has seen some bril- 
liant and remarkable performances of the 
parts he had written, but never one as he 
had conceived it. 

"So I play a part with myself as the 
projector of it. I play it as I feel it, not 
as another actor has played it, nor perhaps 
as the author conceived it." 

Allan Pollock is indeed a player of many 
parts. Outstanding in American memories 
was his ancient king, Augustus III, which 
he played with Douglas Fairbanks and 
Irene Fenwick in "Hawthorne, U. S. A.," 
his Lord Tommy in "The Dawn of a 
Tomorrow" with Eleanor Robson, his 
Dallas Brown that held much of the 
unctuous drollery of "Seven Days," and 
the serio-comedy of his performance with 
Billie Burke in""Jerry." 

But above them, as an Himalayan peak, 

towers his creation of the broken man, 

cured of his lunacy, who returns to his. 

home to find his wife lawfully divorced by 

(Continued on page 190) 



[154] 



THEATRE MAGAZINE, SEPTEMBER. 1922 



MISS IRENE BORDONI 

After a Pastel by 
FABIANO 







[155] 



''The Truth About Blayds" 

A Comedy in Three Acts by A. A. Milne 

TN this, his latest play, the author has placed himself conspicuously among the most successful dramatists now writing 

for the English-speaking stage. This clever comedy is brilliant in characterization, interesting in its complications, 

and mirth-compelling in its caustic satire. The following condensation is printed here by courtesy of Mr. Winthrop 

Ames and Messrs. G. P. Putnam's Sons 



THE CAST 

(As produced by Mr. Winthrop Ames at the 

Booth Theatre) 

Oliver Blayds, the illustrious poet O. P. Heggie 

Isobel, his younger daughter Alexandra Carlisle 

Marion Blayds-Conway, his elder daughter 

Vera Featherston 
William Blayds-Conway, his son-in-law 

Ferdinand Gottschalk 

Oliver Blayds-Conway f his grand- , Leslie Howard 
Septima Blayds-Conway ^ children j Frieda Inescourt 
A. L. Royce, a young poet Gilbert Emery 

Parsons, a maid Mary Gayley 

The scene throughout the play is laid in 
a handsomely furnished room, with no air 
of comfort but only of dignity, in a house in 
Portman Square. At the back is a paint- 
ing of Oliver Blayds, also handsome and 
dignified. 

Oliver Blayds-Conway, his grandson, 
enters with Royce, a man of forty, carrying 
a bound Address to present to Oliver 
Blayds. 

OLIVER: * * * Make yourself comfortable. 
ROYCE: Thanks. (Looks round room and 
sees picture over fireplace.) Hullo, there 
he is! 

OLIVER: What? (Bored.) Oh, the old 
'un, yes. 

ROYCE: (Reverently.) Oliver Blayds, the 
last of the Victorians! (Oliver looks de- 
spairingly to Heaven.) I can't take my 
hat off, because it's off already, but I 
should like to. 

OLIVER: Good lord, you don't really feel 
like that * * *? 
ROYCE: Of course. Don't you? 
OLIVER: Well hardly. He's my grand- 
father. 

ROYCE: (Smiling.) * * * There's nothing Ira 
in the Ten Comandments about not honor- 
ing your grandfather. 

OLIVER: Nothing about honoring 'em either. 
It's left optional. Of course, he's a wonderful 
old fellow, ninety and still going strong, but 

* * * he's my grandfather. 

ROYCE: I'm afraid, Conway, that even the fact 
of his being your grandfather doesn't prevent 
me thinking him i very great poet, a very great 
philosopher, and a very great man. 
OLIVER: (Interested.) I say, do yc j really 
mean that, or are you just quoting from the 
Address * * *. 

ROYCE: Well, it's in the Addi'ss, but then I 
wrote the Address. 

OLIVER: * * * To Oliver Blayds on his nine- 
tieth birthday; Homage from some of the 
younger writers * * *. The old bo/ will love 
it. But do they really feel like that about him 

* * *. I've always thought of hi.n as old- 
fashioned, early Victorian, and tlut kind of 
thing. 

ROYCE: Oh, he is. Like Shakespeare. Early 
Elizabethan and that kind of thing * * *. 
OLIVER: * * * If you say that Blayds' poetry 
is as good as the best, I'll take your word for 



it. Blayds the poet, you're the authority. Blayds 
the grandfather, / am. 

ROYCE: All right then, you can take my word 
for it that his best is as good as the best. ( To 
picture.) Simple as Wordsworth, sensuous as 
Tennyson, passionate as Swinburne * * *. 

Oliver tells Royce he is secretary to a poli- 
tician, whereas he wants to be a motor engi- 
neer, but is not allowed to be. 

ROYCE: * * * Oliver Blayds is a very great 




D. Schwarz 



BLAYDS 



man and also a very old man, and I think that 
while you live in the house of this very great 
man, the inconvenience to which his old age 
puts you 

OLIVER: * * * The whole point is that I don't 
<want to live in his house. Do you realize I've 
never had a . house * * where I could ask 
people? I brought you this afternoon because 
you'd got permission to come anyhow with that 
Address * * *. But I shouldn't have dared to 
bring anybody else along * * *. Here we all 
are, and always have been, living not our life 
but his life. 

Septima enters and she and Oliver flippantly 
discuss Blayds, to Royce's annoyance. Marion 
comes in to attend to the birthday letters of 
congratulation, and asks Oliver to show Royce 
over the house. Septima takes this occasion to 
ask her mother if she may leave home to share 
a studio with a girl friend and devote herself 
to her painting, and is met with the usual 
"We'll see what grandfather says." William 
Blayds-Conway, a prim, fussy little man of the 
Civil Service type, enters. He is secretary to 



Blayds and has collected material for a life of 
the great poet. He steps mincingly and every 
movement and gesture is clean-cut and precise. 



WILLIAM: I still think it was very unwise for 
us to attempt to see anybody today. Naturally 
I made it very clear to Mr. Royce what a very 
unexpected departure this is from our usual 
practice. I fancy that he realizes the honor 
which we have paid to the younger school 
of writers. Those who are knocking at 
the door, so to speak * * *. (To Septima, 
as she is leaving the room.) Wait a 
moment, please. ( Takes a key out of his 
packet and considers.) Yes, yes (goes to 
Septima), you may show Mr. Royce the 
autograph letter from Queen Victoria, writ- 
ten on the occasion of your Grandmother's 
death. Be very careful, please. (To 
Marion.) I think he might be allowed to 
take it in his hands don't you think so, 
Marion? (Marion smiles assent.) But 
lock it up immediately afterwards, and 
bring me back the key. 
SEPTIMA: Yes, father. What fun he's go- 
ing to have! 

William gives minute directions for sprt- 
ing the birthday letters and telegrams, for 
drinking Blayds' health, and dictates a 
special notice for the Times. Leaves the 
room with Marion. Isobel enters to ar- 
range flowers, followed shortly by Royce, 
who had met and loved her eighteen years 
before. They stand silently looking at each 
other. He hums the refrain of a waltz. 
You can see she is remembering. 



ISOBEL: How long ago was it? 

ROYCE: Eighteen years. 

ISOBEL: (Who has lived fifty years since 
then.) So little? 
ROYCE: (Distressed.) Isobel! 
ISOBEL: (Remembering his name no<w.) Austin. 
ROYCE: It comes back to you? 
ISOBEL: A few faded memories and the smell 
of pine woods. And there was a band * * * 
that was the waltz they played * * 
ROYCE: I remember that pink cotton dress. 
ISOBEL: Eighty years ago! Or it is only 
eighteen ? And now we meet again. You 
married? 

ROYCE: (Uncomfortably.) Yes. 
ISOBEL: I hope it was happy. 

ROYCE: No, we separated some years before 
she died * * *. 

ISOBEL: My father will be coming in directly 
* * *. 

ROYCE: You are still looking after him? 

ISOBEL: Yes. 

ROYCE: For eighteen years * * *. And has it 

been worth it? 

ISOBEL: He has written wonderful things in 



[156] 






THEATRE MAGAZINE. SEPTEMBER, 1922 





ADELE ROWLAND 

t Succeeds in escaping from "Spice of 
1922" and the Winter Garden a few 
times each week to make hay while 
I the sun shines at "The Gables," her 
home in the Westchester hills at 
Chappaqua, New York 



ELSIE FERGUSON 

As a tree climber, looking over her 

rammer domains at Southampton. Long 

Island, with her constant companion, 

"Mischief" 



O. P. HEGGIE 

An inveterate yachtsman, at the helm 

of his latest skiff willi a favorite pipe, 

in the waters of Cape Cod 





Ira D. Schwarz 

GENEVIEVE TOBIN 
Who on any fair day 
and some wet ones too 
can usually he found 
along some bridle path 
here or abroad. This 
one happens to be in 
the woods near her 
summer home at Pel- 
ham Manor, N. Y. 



Motif by 
Margaret Vale 




FLORENCE MOORE 

With "Chum," two of the several stars 

who form the interesting theatrical 

colony on the Long Island Sound at 

Great Neck 



BERT LYTELL 

A Waltonian of note, going after tuna 

fish aboard his catboat, the "Nancy," 

at Catalina Islands, California 




A REST FROM THE CALL BOY 
Some Popular Players Who Have Harkened to the Lure of Open Places 



[157] 



those years. Not very much, but very wonderful. 
ROYCE: Yes, that has always been the miracle 
about him, the way he has kept his youth. And 
the fire and spirit of youth. You have helped 
him there. You might have looked after me 
those eighteen years * * *. That's always the 
problem, whether the old or the young have the 
better right to be selfish. You gave yourself to 
him, and he has wasted your life. I don't think 
/ should have wasted it. 

ISOBEL: I am proud of having helped him. 
Everything which he wrote will be his. Only 
I shall know how much of it was mine. That's 
something no, not wasted * * *. I did want 
to marry you. But I couldn't. He wasn't an 
ordinary man * . He was Blayds * * *. 
It has been trying of course such a very old 
man in body, although so young in mind but 
it has not been for an old man that I have 
done it but for the glorious young poet 
who has never grown up, and who wanted 
me * * *. 

William comes fussily in, looking about 
to see that flowers, glasses for drinking 
Blayds' health, etc., are all in order * * *. 
Marion, Oliver and Septima enter. William 
indicates where each is to sit, etc. * * * 
There is a solemn silence of expectation. 
Blayds is wheeled into the room by Isobel. 
All rise. 

BLAYDS: Good day to you all. 

In turn, and as instructed by William, 
each one steps forward to congratulate 
Blayds, after which his health is drunk. 

WILLIAM: Are we all ready? (Toasts.) 
Blayds! 

BLAYDS: (Moved as always by this.) 
Thank you, thank you. (Recovering him- 
self.) Is that the Jubilee port, William? 
WILLIAM: Yes, sir * * . (Hands him 
glass.) 

BLAYDS: Mr. Royce, I will drink to you, 
and, through you, to all that eager youth Ira 
which is seeking, each in his own way, for 
beauty. (Raises his glass.) May they find 
it at the last. (He drinks.) 
ROYCE: Thank you very much, sir. I shall 
remember * * . 

Royce presents the Address, and as previ- 
ously prompted by Isobel, praises his 1863 
volume, much to Blayds' delight. He tells Royce 
some reminiscences. 

BLAYDS: * * * I went to Court once * * * I had 
a new pair of boots. They squeaked. They 
squeaked all the way from London to the Isle 
of Wight. The Queen was waiting for me at 
the end of a long room. I squeaked in. I 
bowed ; I squeaked my way up to her. * * * 
I just stood shifting from one foot to the other, 
and squeaking. She said: "Don't you think 
Lord Tennyson's poetry is very beautiful?" and 
I squeaked and said "Damn these boots." * 
Isobel knows all my stories * * *. When you're 
ninety they know all your stories * * *. I'll 
tell you one you don't know, Isobel. * * * 
George Meredith told me this. Are you fond 
of cricket, Mr. Royce? 
ROYCE: Yes, very. 

BLAYDS: So was Meredith, so was I. * * * A 
young boy playing for his school. The impor- 
tant match of the year; he gets his colors only 
if he plays, you understand? Just before the 



game began he was sitting in one of those * 
deck chairs, when it collapsed, his hand between 
the hinges. Three crushed fingers, no chance of 
playing, no colors. At that age a tragedy; it 
seems that one's whole life is over * * *. But 
if once the match begins with him, he has his 
colors, whatever happens afterwards. * * ' 
He keeps his hand in his pocket; nobody has 
seen the accident, nobody guesses. His side is 
in first. * * * When his turn comes to bat he 
forces a glove over the crushed fingers and 
goes to the wicket. He makes nothing that 
doesn't matter he is the wicket keeper and 
has gone in last. But * * * he knows what an 
unfair thing he has done to his school to let 
them start their game with a cripple. It is 
impossible now to confess. So, in between the 
innings he arranges another accident with his 




SEPTIMA AND OLIVER 

find a new and glorious liberty following the death 
oj the illustrious tyrant 

chair and falls back on it with his fingers, his 
already crushed fingers this time, in the hinges. 
So nobody ever knew. Not until he was a man, 
and it all seemed very little and far away * * *. 
ROYCE: Lord, what pluck! 'I think I should 
have forgiven him for that. 
BLAYDS: Yes, an unfair thing to do, but having 
done it he carried it off in the grand manner. 
* * * I can tell you another story, Isobel, which 
you don't know of another boy who carried it 
off. * * * No, not now, but I shall tell you one 
day. Yes, I shall have to tell you. * * * I shall 
have to tell you. 

Blayds .seems suddenly very old and tired 
and Royce quietly withdraws. 

BLAYDS: Hold me tight. (His head on Isabel's 

breast.) I'm frightened. Did I tell you about 

the boy who carried it off? 

ISOBEL: Yes, dear, you told me. 

BLAYDS: No, not that boy the other one. Are 

we alone, Isobel? * * * Listen, Isobel, I want 

tc tell you about * * *. 

ISOBEL: Tell me tomorrow, dear. 

BLAYDS: There are no tomorrows when you 

are ninety * * *. 

ISOBEL: Very well, dear, tell me now. 

BLAYDS: Yes, yes, come close. * Listen, 



Isobel. (He draws her still closer and begins.) 
Isobel. * * * (The curtain falls.) 

ACT II opens four days later after the death 
and funeral of the great Oliver Blayds. Oliver 
and Septima have been much impressed by the 
awe-inspiring ceremony, enormous crowds of 
people, etc., and at last appreciate what a 
really great man Blayds was. They decide to 
retain the "Blayds" in their name. William 
and Marion enter, followed by Isobel. 



WILLIAM: * * * I am more than ever con- 
vinced that Oliver Blayds' rightful resting place 
was the Abbey * * * even if he expressed the 
wish in his last moments for a quiet interment. 
ISOBEL: He never expressed the wish one way 
or the other. * * * There is something I 
have to tell you all. Will you please listen, 
all of you. * * * I told you that father 
didn't want to be buried in the Abbey, not 
because he had said so, but because it was 
quite impossible * * * because he had done 
nothing to make him worthy of that honor. 

* * * You may think I'm mad, I'm not I 
wish I were. * * * There were two young 
men living together in rooms in Islington 
nearly seventy years ago. Both poor, am- 
bitious, * * * very certain of their destiny. 
But only one of them was a genius. * * * 
He knew that he had not long to live. * 
The poetry came bubbling out of him, and 
he wrote it down feverishly, intent only on 
recording the melodies of this divine spirit 
within him. * * * He had no thought of 
fame he was content to live unknown so 
that when dead he might live forever. His 
friend was ambitious in a different way. 
He wanted the present delights of fame. 
He had talent, but it was outstripped by his 
ambition. So they lived together, one * * 
always writing; the other writing and then 
stopping to think how famous he was going 
to be. * * The poet grew very ill. Then 
one day there was no more writing. The 
poet was dead. * * * The poet had no 
friends but this one, no relations of whom 
he had ever spoken or who claimed him now. 

* * * It was left to his friend to see that he won 
now that immortality for which he had given his 
life his friend betrayed him! One can see 
the temptation. There he was, this young man 
of talent, of great ambition, and there were 
these works of genius lying at his feet. * * * I 
suppose that like every other temptation it came 
suddenly. He writes out some of the verses 

* and sends them to a publisher. One can 
imagine the publisher's natural acceptance of 
the friend as the true author, the friend's awk- 
wardness in undeceiving him his sudden de- 
termination to make the most of his opportunity. 
One can imagine many things, but what re- 
mains? Always and always this that Oliver 
Blayds was not a poet; that he did not write 
the works attributed to him; and that he be- 
trayed his friend. (She stops; then says in 
an ordinary voice.) That was why I thought 
he ought not to be buried in the Abbey. 

The family is completely stunned at the news 
and fancy Isobel must be mistaken. 



WILLIAM: When did he tell you? 
ISOBEL: That last evening. * * He seemed 
frightened suddenly of dying. I suppose he'd 
always meant to tell somebody before he died. 



[158] 






THEATRE MAGAZINE, SEPTEMBER, 1922 




Study by Maurice Goldberg 



DESHA in THE BUBBLE DANCE 



This admirable camera-charcoal of the well-known dancer marks outstandingly the great advances being made in 
photographic art. It was an honor winner at the recent international convention of the knights of the lens at Buffalo 

[159] 




WILLIAM: * The 
manuscripts were kept by 
Oliver Blayds for sixty 



years 



can you ex- 



Schwarz 

WILLIAM 



plain how it was that he 
didn't publish them earlier 
if he had had them in his 
possession all those years? 
IS03EL: He didn't dare 
to. He was afraid of be- 
ing left with nothing to 
publish. He took care al- 
ways to have something 
in reserve. And that's 
why everybody said how 
vigorous and youthful his 
mind was at eighty. * * * 
Yes, it was the spirit and 
fire of youth, but a youth 
who died seventy years 
ago. 

It develops that Blayds 
actually wrote the 1863 
volume himself, but when 
it met with severe critic- 
ism, he went hastily back 
to his friend's works, and 
never ventured by himself again. This accounted 
for his joy whenever the 1863 volume was praised. 
They discuss the money gained from the publica- 
tion of the books. Isobel says they have no right 
to any of it. The rest of the family, however, 
maintain that after provision is made for 
any possible heirs of Jenkins, the dead young 
poet, the rest of the fortune is rightfully theirs, 
Blayds having at least arranged for the pub- 
lication of the books and being entitled to claim 
a commission, as well as the proceeds from the 
1863 volume. 

ISOBEL: One can't argue about it. You feel it 
or you don't. 1 give up my share of the money, 
so there should be plenty for all of you, even 
after you have been "fair" to the others. 
WILLIAM: (Who has felt Isabel's scorn 
deeply.) Isobel, I don't think you can realize 
how much you have hurt me. I suppose this 
appalling revelation has meant more to me than 
to anyone in this room. * * * It means the end 
of my lifework, the end of a career. * * * I 
gave up whatever other ambitions I may have 
had and I set myself from that day on to live 
for one thing only, Oliver Blayds. It was a 
great pride to me to be his son-in-law, a great 
pride to be his secretary, but the greatest pride 
of all was the thought that I was helping others 
to know and to love that very great poet, that 
very great man, Oliver Blayds. * * * I think I 
have some right to bear resentment against this 
man who has tricked me, who has been mak- 
ing a fool of me for all these years. When I 
think of the years of labor I have spent already 
in getting the materials together for this man's 
life; when I think how I have listened to him 
and taken down his every word ; when I think 
that tomorrow I am to be held up to the de- 
rision of the world for a gullible fool, I think 
I have a right to be angry. * * * You can 
understand that to me it is absolutely crushing. 
ISOBEL: And to me? What has it been to me? 
I might have been a wife, a mother, with 
a man of my own, children of my own. * * * 
I might have had a little girl of my own to be 
my friend, and we could have had secrets to- 
gether about my man, our man. * * * He asked 
me to marry him. * * * I sent him away. I said 



that I must stay with my father, Oliver Blayds, 
the great poet, because I was necessary to him. 
* * * You thought I like nursing. "A born 
nurse" I can hear you saying it. I hated it. 
Do you know what it's like nursing a sick old 
man, day after day, night after night? And 
then year after year. Always a little older, 
a little more difficult. Do you know what it is 
to live always with old age and never with 
youth, and to watch your own youth gradually 
creeping up to join his old age? I told myself 
that it was worth it, because when he died, 
when I died, I should be part of the immortal 
Blayds, forever and ever, sharing his immor- 
tal poetry. And look at me now. All wasted. 
The wife I might have been. The mother I 
might have been. Ah, how happy we could 
have made our man, my little girl and I. 

They quietly leave her, and she buries her 
head in her arms. 

ACT III opens three days later. Royce is 
working at desk prepara- 
tory to making a public 
statement about Blayds' 
fraud. Oliver enters and 
tells Royce he thinks 
Blayds was laboring un- 
der a n hallucination 
when he made his con- 
fession. Isobel comes in, 
followed later by Will- 
iam, who asks Royce to 
search for some missing 
pass books. William too 
is possessed by the "hal- 
lucination" idea and has, 
of course, convinced 
Marion, who enters ex- 
citedly. 

MARION: Have you heard 
the wonderful news * * * 
about grandfather's hal- 
lucination? I always felt 
that there must have been 
some mistake. And now 
our faith is justified, as 
faith always is. Poor 
ISOBEL dear grandfather. He 

was so very old. And the 

excitement of that last day his birthday and 
perhaps the glass of port. I shall never for- 
give myself for having doubted. * 
ISOBEL: Then you won't ivant that pass book 
now ? 

MARION: Pass book? 

WILLIAM: Oh ah yes, the Jenkins Fund. 
MARION: But of course there is no Jenkins 
now, so there can't be a Jenkins Fund. 
ISOBEL: (To William.} You're quite happy 
about the money then? 

WILLIAM: (Who obviously isn't.) Er yes I 
That is to say that, while absolutely satisfied 
that this man Jenkins never existed, I at the 
same time perhaps to be on the safe side 
there are certain charities, for distressed 
writers and so on, and perhaps one would feel 
you see what I mean. 

ISOBEL: Yes, it's what they call conscience 
money, isn't it? (Enter Royce.) Mr. Royce, 
we have some news for you. We have decided 
that the man Jenkins never existed. Isn't it 
nice? 

ROYCE: Never existed? 
ISOBEL: He was just an hallucination. 
ROYCE: (Laughing.) * * That's rather funny. 

[160] 



Schwarz 



For what do you think I've got here? (He 
holds up a piece of paper.) Stuck in his old 
pass book. Jenkins' will! 

MARION: It must be another Jenkins. Because 
we've just decided that our one never lived. 
ISOBEL: (Reading.) "To Oliver Blayds, who 
has given me everything, I leave everything." 
And then underneath "God bless you, dear 
Oliver." 

ROYCE: Well, that settles the money side of it, 
anyway. Whatever should have been the other 
man's came rightfully to Oliver Blayds. 
ISOBEL: Except the immortality. * * * 

* * * Well, what are you going to do? 

What can I do but tell the world the 



ROYCE 
ISOBEL 
truth? 
ROYCE 



be 



H'm! I wonder if the world 
grateful ? 

ISOBEL: Does that matter? The truth is an 
end in itself. * * * Call it truth or call it 
beauty, it's all we're here for. 
ROYCE: * * The trouble is that the truth 
about Blayds won't seem very beautiful. There's 
your truth, and then there's William's truth too. 
To the public it will seem not so much like 
Beauty as like an undignified family squabble. 
ISOBEL: It seems so unfair that this poor dead 
boy should be robbed of the immortality which 
he wanted. 

ROYCE: Hasn't he got it? There are his works. 
Didn't he have the happiness and pain of writ- 
ing them? How can you do anything for him 
now? It's just pure sentiment, isn't it? * * * 
ISOBEL: I keep telling myself that I want the 
truth to prevail but is it only that? Or is it 
that I want to punish him he hurt me so. All 
those years he was pretending that I helped 
him. 

ROYCE: As he said, he carried it off. 
ISOBEL: Yes, he carried it off. Oh, he had his 
qualities, Oliver Blayds. * * * A great man; a 
little man, but never quite my father. 
ROYCE: A great man, I think, * * *. (Picking 
up statement he had prepared for the public.) 
Then I can tear up this. 

ISOBEL: Yes, let us bury the dead and forget 
about them. (Royce throtus document into fire.) 
ROYCE: Isobel ! 

ISOBEL: Ah, but she's dead too 
eighteen years ago, that 
child. 

ROYCE: Then introduce 
me to her mother. 
ICOBEL: Mr. Royce, let 
me introduce you to my 
mother thirty-eight, poor 
dear. (Boiuing.) How 
do you do, Mr. Royce? I 
have heard my daughter 
speak of you. 
ROYCE: How do you do, 
Mrs. Blayds. I'm glad to 
meet you because I once 
asked your daughter to 
marry me. * * * She said, 
like all properly brought 
up girls, "you must as'; 
my mother." So now I 
ask her "Isobel's mother, 
will you marry me ?" * * * 
liOBEL: I'm afraid to. I 
shall be so jealous. 
ROYCE: Jealous? Of 
whom? 

ISOBEL: Of that girl we 

call my daughter. You Schwarz 

(Continued on page 184) ROYCE 



she died 




THEATRE MAGAZINE, SEPTEMBER, 1922 





Ganjiro JVakamura, of Osaka, Japan's lead- 
ing actor and something of a god to the thea- 
tre-loving multitudes of the flowery kingdom. 
Though nearly sixty, Ganjiro is most famous 
for his enactment of Japan's classic lover 
roles, his mastery of make-up concealing his age 



Ganjiro possesses a grace of expression and 
subtlety of gesture rare to any stage, as well 
as the ability to play both comedy and tragedy 
equally well. Here he is seen as Yuranosuke, 
a noted role which emphasizes the Japanese 
sense of fidelity to their overlord 




Ganjiro as Jihei, a hero conceived by the 
dramatist Chikamutsu two hundred years ago 



Ohosoburo, Ganjiro's elder and favorite son, 
himself an actor of unusual ability, in the 
part of an itinerant wine vendor. His father's 
great good fortune began the day of Choso- 
buro'g birth 




Chosoburo in the costume of a professional 

dancer 

(Left) Senjaku, Ganjiro's younger son, as a 
nurse girl. As in Shakespearean days, the 
Japanese stage constantly uses boys for femi- 
nine roles 



IN THE NIPPONESE FOOT-LIGHTS 
Two Generations of An Illustrious Family of Japanese Players 



[161] 



FIRST ROW from left to right 
AL JOLSON 
JOHN EMERSON 
ANITA LOOS 
IRVING BERLIN 
DAVID BELASCO 
LENORE ULRIC 
JOHN BARRYMORE 
MICHAEL STRANGE 

SECOND ROW from left to right 
ANNA PAVLOWA 
JOSEF HOFMAN 
REINA BELASCO GEST 
JOHN DREW 
THEODORE ROOSEVELT 
MARIE JERITZA 
GIULIO GATTI-CASAZZA 
GERALDINE FARRAR 
MARY GARDEN 

THIRD ROW -from left to right 
ELSIE DE WOLFE 
ARTHUR BRISBANE 
MRS. WM. RANDOLPH HEARST 
HENRY BLACKMAN SELL 
CONDE NAST 
IRENE CASTLE 
FRANK CROWINSHIELD 
MRS. H. PAYNE WHITNEY 
KENNETH MacGOWAN 
ALAN DALE 
RAY LONG 

FOURTH ROW from left to right 
SAM BERNARD 
MARILYN MILLER 
ED WYNN 

MRS. J. BORDEN HARRIMAN 
CHAS. DANA GIBSON 
ALEXANDER WOOLLCOTT 
MRS. LYDIG HOYT 
FRANKLIN P. ADAMS 
NEYSA McMEIN 
HEYWOOD BROUN 
DORIS KEANE 
PERCY HAMMOND 

FIFTH ROW from left to right 
MORANZONI 
ANN MORGAN 
BURNS MANTLE 
MRS. W. K. VANDERBILT 
WILLARD HUNTIXGTON WRIGHT 
S. JAY KAUFMAN 
HERBERT SWOPE 
WALTER CATLETT 
SOPHIE BRASLAU 
DOROTHY GISH 
DAVID W. GRIFFITH 
LILLIAN GISH 
ELIZABETH MARBURY 
LEON ERROL 
ZOE AKINS 

LOWER RIGHT BOX from left to right 
FEODOR CHALTAPINE 
I.UCREXIA BORI 

MADAME ALDA 

x 

LEFT UPPER BOX from left to right 
MAUDE ADAMS 
JOHN McCORMACK 
CHARLES CHAPLIN 
MARECHAL JOFFRE 

RIGHT UPPER BOX -from left to right 
LAURETTE TAYLOR 
FRANCES STAIIR 
CLARE SHERIDAN 
HARTLEY MANNERS 




RALPH BARTON'S SUPER-CARICATURE HANGS 




FOYER S. R. O. from left to right 
A. D. LASKER 
SAMUEL L. ROTHAPFEI. 
NICHOLAS MURRAY fcUTLER 
RALPH BARTON 
JESSE LASKY 
EDWARD ZIEGLER 
WILLIAM GUARD 
LOUIS UNTERMEYER 
J. J. SHUBERT 
LEE SHUBERT 
F. RAY COMSTOCK 
MORRIS GEST 
OLIVER SAYLER 
BORIS ANISFELD 
ROBERT EDMOND JONES 
RING LARDNER 
STEPHEN RATHBUN 
ARMAND VESZY 
ANDREAS DE SEGUROLA 
PAPI 
RAYMOND HITCHCOCK 

SIXTH ROW from left to right 
ADOLF ZUKOR 
ROBERT G. WELSH 
FAY BAINTER 
LAWRENCE REAMER 
GERTRUDE HOFFMAN 
WALTER DAMROSCH 
MARY NASH 
WILHELM MENGELBERG 
CHARLES DARNTON 
OTTO H. KAHN 
FRANK A. MUNSEY 
FLO ZIEGFELD 
ARTURO BODANSKY 
ADOLPH OCHS 
JOHN RUMSEY 

SEVENTH ROW from left to right 
LUDWIG LEWISOHN 
GEORGE S. KAUFMAN 
LYNN FONTANNE 
MARC CONNELLY 
GEO. M. COHAN 
JOHN MacMAHON 
HENRY KREHBIEL 
MRS. HENRICO CARUSO 
BEN-AMI 

DOROTHY DALTON 
DAVID WARFIELD 
ROBERT C. BENCHLEY 






EIGHTH ROW from left to right 
KARL KITCHEN 
ANTONIO SCOTTI 
FANNY HURST 
HUGO REISENFELD 
VERA FOKINA 
MICHEL FOKINE 
AVERY HOPWOOD 
CONSTANCE TALMADGE 
ANNA FITZIU 
REGINALD VANDERBILT 
DR. FRANK CRANE 
JASHA HEIFETZ 

NINTH ROW from left to right 
EUGENE O'NEILL 
PROF. ROERICH 
JOSEPH URBAN 
ARTHUR HORNBLOW 
PAUL MEYER 
ELSIE JANIS 
PAUL BLOCK 
JOHN FARRAR 
SERGEI RACHMANINOFF 
HERBERT HOOVER 
JOHN GOLDEN 
WTNCHELL SMITH 
JAY GOULD 



A CURTAIN AT THE CHAUVE-SOURIS 



Amsterdam Does Something New 

America May See International Exhibition of the JTheatre Which Has Awakened World-Wide Interest 



THREE facts impress themselves on the 
American student of the theatre who 
visits Europe the purity of Italian 
acting, the perfection of German mechan- 
ism and the thoroughness of Dutch pro- 
duction. The first two are well-worn 
themes; less is known of the theatre of 
Holland than of other countries. Sup- 
porters of the municipal theatre for our 
native cities would find much to study, 
however, in the repertory systems of Am- 
sterdam and the Hague. Nowhere in 
Europe, save in Russia, are there two better- 
conducted municipal playhouses. And it 
remained for the Dutch to lead the art 
movement of the stage by assembling in 
Amsterdam recently the first world ex- 
hibition of stage settings and 
designs. Such favorable notice 
was given this collection that 
it is now on view at the South 
Kensington museum in Lon- 
don and it may be brought to 
the United States this fall. 
A CARNIVAL OF ARTISTS 

THE exhibition, shown in 
the Steldjik, or municipal 
museum, was sponsored by an 
Amsterdam association called 
"Art for the People." Each 
year this organization conducts 
a special showing of art ob- 
jects. It may be period furni- 
ture, Chinese vases, modern 
paintings. This year it col- 
lected designs and stage 
models from the leading 
workers in a dozen countries. 
The project was carried out 
by H. Th. Wijdeveld, a noted 
Dutch architect, whose own 
plans for a people's theatre in 
Amsterdam soon are to be 
realized. Wijdeveld wrote to every avail- 
able scenic artist and designer, journeyed 
to Germany and to England to collect 
drawings, gathered them in the Steldjik 
museum and, with the assistance of Frits 
Lensvelt, arranged them in a comprehensive 
exhibition. Gordon Craig came from Italy 
to lecture ; Sheldon Cheney, the American 
author, climbed ladders and hung drawings 
in place; Leopold Jessner traveled from 
the Stadtschauspielhaus in Berlin, Oscar 
Strnad journeyed from Vienna and Jacques 
Copeau from Paris. For two months this 
collection was opened daily to the public 
while in the lecture room below various 
phases of what loosely is called "the new 
movement in the theatre" were discussed 
by well-known leaders. In addition, a 
library of modern works on the drama was 
arranged by Paul Huf, an actor of the 
Staatschowburg, the municipal theatre of 
Amsterdam. 

The dominating impression was the art- 
fulness of arrangement. Save for the first 
room, dedicated to Adolph Appia and Gor- 
don Craig, the others were representative 



By CARLTON MILES 

of each country. So provocative was the 
method of displaying these drawings that 
the casual . visitor was led from room to 
room to find himself at length in a large 
chamber in which were 30 or 40 stage 
models, of which those by the late C. Lovat 
Fraser for "The Beggar's Opera," were 
the most interesting. 

I asked Wijdeveld how he managed to 
combine so many drawings into an exhibi- 
tion that concentrated attention on the 
important things. 

"We were given one large room," he 
said. "I did not wish that. It would give 
too bare an effect. With the use of light 
board material I built half a dozen rooms, 
had the walls a uniform gray, made futur- 




tra," "Sumyrun" and "Turandot." Hans 
Poelzig sent designs for "Hamlet" costumes 
and five photographs of the Grossesshau- 
spielhaus of Berlin, of which he was the 
architect. There were drawings by Oscar 
Klein, Rochus Gliese, Maxim Frey, Her- 
man Krehan, Ludwig Berger, Emil Orli, 
Julius Hay, Edward Suhur, Oscar Kauf- 
mann, Otto Reigbert, Adolph Mahnkc, 
Max Unold, Leo Pasettit, Wilhelm Schulz, 
Julius Diez, Emil Pirchan, Jurt Kempin, 
Ludwig Sievert and Hans Wildermann. 
These names are given to show how thor- 
oughly the modern movement holds the 
German artist. 

France and Russia were scantily repre- 
sented; few French artists exerte.i them- 
selves to send decorations; the 
latter because of present con- 
ditions. There were costume 
studies by Leon Bakst and 
scenic drawings by Theodor 
Komisarjevsky. The work of 
the Vieux Columbier, in Paris, 
with Louis Jouvet's designs for 
stage settings, were the most 
notable things from France. 
Sweden had but one represen- 
tative, Isaac Grunewald, who 
had a design for "Samson and 
Delilah." 



I 



The futurist entrance to the International Exhibition 
Theatrical Art in the Steldjik Museum in Amsterd 



istic designs in bright colors for the entrance 
and the various doorways, constructed a 
false ceiling of cheesecloth falling like a 
tent and behind this concealed the lights, 
thus giving a softness we otherwise could 
not have obtained." 

The Appia-Craig room at once seized the 
visitor. There were large shadowy designs 
by Appia for "Die Walkure," "Orpheus," 
"Parsifal" and "Prometheus." There were 
restful drawings in gray and black under 
glass covers as were all the designs in the 
exhibition by Gordon Craig for "Ham- 
let," "Iphigenia" and "Peer Gynt." Craig 
also had three stage models, arrangements 
of white screens and stairways, adaptable 
for the idealistic drama. 

Of the other countries, Germany, as was 
to have been expected, led, although the 
Germans established no homogeneity of 
mood. The scenic artists there apparently 
are working from' many angles. Ernst 
Stern walfrepresented by costume and scenic 
designs executed for the Max Reinhardt 
theatres, for Romain Rolland's "Danton," 
for "The Miracle," "Don Juan," "Lysis- 



AMERICA'S CONTRIBUTION 

T is a matter for regret that 
no American artists sent 
color designs. All the Ameri- 
can contributions were black 
and white photographs and the 
visitors to the museum could 
carry away no idea of the 
of amazing work of our own 

im artists. Robert Edmond Jones 

had designs for "Macbeth," 
"Richard III" and Sydney Howard's 
"Swords." Lee Simonson sent photographs 
for several of his Theatre Guild sets, in- 
cluding "The Faithful" and "The Power 
of Darkness," as well as for "Martinique." 
Norman Bel Geddes displayed settings for 
Dante's "Divine Comedy" and for "King 
Lear," while Joseph Urban, whose later 
work has been done in the United States, 
offered settings for "Parsifal," "Pelleas 
and Melisande" and "L'Amore dei Tre 
Re." The others embraced Maxwell 
Armfield, Raymond Jonson, Ernest De 
Weerth, John Wenger and Sam Hume, the 
last named showing scenes from Shakes- 
perian productions at the Arts and Crafts 
Theatre in Detroit and at the University 
of California. But there was nothing from 
Rollo Peters or Livingston Platt. The 
Benda masks were not shown nor any of 
the settings devised by the Provincetown 
Players, notably for "Emperor Jones." The 
American visitor could not but resent the 
haste with which the Amsterdam people 
passed through this gallery to the more 
(Continued on page 182) 



THEATRE MAGAZINE. SEPTEMBER, 1922 




Pho'.ographs by E. 0. Hoppe of Lomloi 




(Upper) Shawn's resplendent raiment in 
"Xochitl," a Toltec dance drama 

( Lower) St. Denis in her noted Hindu 
dance 



( Upper) Shawn and Martha Graham in the sensuous 
pares of an Argentine tango 

(Lower) Shawn in his Japanese spear dance 



( Upper) St. Denis in the gorgeous cos- 
tume of her Japanese dance 

(Lower) Another glimpse of St. Denis* 
Hindu dance 



DANCES EAST AND WEST 
Ted Shawn and His Wife, Ruth St. Denis, Return Home After a Successful Season of Repertory in London 

[165] 



HEARD ON BROADWAY 

Stories and News Straight from the Inside of the Theatre World 



Told by 




L'Homme Qui Sait 



I 



HEAR that LOLA FISHER has entirely recovered from the illness 
that has kept her off the stage for two years and will be seen in a 
new play before the season is much older. 



in the brief fisticuff exhibition, which was voted a draw by the ring-side. 



LAURETTE TAYLOR'S part in "The National Anthem" was a singu- 
larly trying one on her nerves and feelings. It is not generally known 
that the strain left her heart in a weak condition, and during a per- 
formance toward the end of the run Miss Taylor fainted and was 
carried off the stage. By a great showing of pluck and will power Miss 
Taylor brought herself to in time to appear for her next scene. 



ALLA NAZIMOVA is said to be making negotiations for her return to 
the speaking stage after a long sojourn in the pictures. Her last picture, 
"Salome," done after Beardsley, to be released shortly, will probably 
prove a sensation according to studio rumors. 

CARLE NEARS DEATH 

J^ICHARD CARLE has a habit of calling strangers to whom he is intro- 
duced, but whose names he has not caught, "Mr. Davis." Recently in 
Chicago, sitting around a table, Mr. Carle insistently called a new-comer 
by this name and could not understand the violent nudges he received 
from a mutual friend sitting next to him at the table, nor the awful 
glances of "Mr. Davis." When they parted the friend who had done the 
nudging said, "It's a wonder he didn't kill you. The name of the man 
who ran away with his wife two days ago is Davit" 1 . 



ARTHUR RICHMAN entered a bookshop recently in San Francisco and 
asked for a copy of his own play "Ambush," desiring to purchase it for 
a friend. The salesgirl informed him that they had sold the last copy, 
and as Richman turned to go out the girl sought to console him by saying 
"But that's all right, Mister I've read it and you ain't missing much" ! 



It isn't often that one hears of a Belasco star taking a plunge into the 
variety halls. Yet LIONEL ATWELL has signed for a number of weeks 
on the Keith circuit at a reported salary of $2,000 per week to do a 
sketch called "The White Face Fool." The reason is largely Mr. Belasco's 
having no theatre of his own in which to start his star's season in a new 
play. "Kiki's" longevity is being responsible for a number of oddities 
in the quiet office on West 44th Street. 



IRENE BORDONI will play "The French Doll" in only a few of the 
larger Eastern cities this fall, and will then go to London to appear 
under the direction of Cochran in "Bluebeard's Eighth Wife." 

HITCHCOCK VERSUS CARROLL 

JJ ROADWAY was very much interested in the report that RAYMOND 
HITCHCOCK and EARL CARROLL exchanged blows between the 
acts of the "Pin Wheel Revue," in which the slim comedian appeared for 
a short time at the Earl Carroll Theatre. For some reason the curtain 
failed to drop after some scene of Hitchy's, and one word finally led to 
another between the comedian and the young theatrical producer, ending 



H. B. WARNER, who has not appeared in America in a play for many 
years, having been in the pictures, will tour the Eastern cities this fall in 
"Bulldog Drummond." 

LEWISOHN PLAYHOUSE TO CLOSE SHOP 

'J'HE directors of the NEIGHBORHOOD PLAYHOUSE in closing their 
theatre on June 22nd announced that there would be no further public 
performances for a year in order that they might find and develop new 
material, plays and other forms of dramatic art. They are planning to 
have a repertory company of players and dancers who will be maintained 
on 'a yearly salary basis. It is said that many of these actors will be 
professionals. 



During the run of "Six Cylinder Love," JUNE WALKER was taken ill 
and it was found necessary for her to retire from the cast for a while. 
To replace her BOOTS WOOSTER was quickly rehearsed for the 
character played by Miss Walker, and learned her lines in Jnusually 
quick time. The night before Miss Wooster was to appear in the part 
Miss Walker, thinking to save her the trouble of journeying to the 
Wooster home" at Long Beach, asked her to pass the night in the Walker 
apartment on West 55th Street. But apparently the germs that had got 
Miss Walker or some distant relatives of them were lurking about 
the Walker apartment, for in the morning Miss Wooster woke up with 
a severe attack of the mumps. MILDRED McCLEOUD was then 
speedily rehearsed for the part, and the Harris office saw to it that she 
was kept away from West 55th Street! 

TRAGEDY IN BOOKING OFFICE 

ROSE COGHLAN was sitting in the office of Eddie Darling, the Keith 
booking office, waiting to see Mr. Darling. A "Mr. Shea" came in on 
the same mission and was told he would have to wait until after Miss 
Coghlan had been interviewed. Whereupon Mr. Shea introduced himself 
to Miss Coghlan, who, quickly jumping at conclusions, said: "Oh, Mr. 
Shea, I have three weeks open for booking, and I would love to fill them 
out in your three theatres, Rochester, Syracuse and Buffalo." Mr. Shea's 
face fell. "I should like those three dates myself," said he, "but unfor- 
tunately I don't happen to be the Mr. Shea who owns them. I merely 
thought that two old-timers ought to become acquainted. I am THOMAS 
E. SHEA." 



Plans havt been tentatively made for the production of Samuel Shipman's 
"Lawful Larceny" in London under the banner of A. H. Woods. 
CATHERINE CALVERT, famous on the screen, and last seen on the 
legitimate stage with Otis Skinner in "Blood and Sand," will play the 
part done in New York by Gail Kane. 



"The Bat," that Methuselah among plays, has been on Broadway so 
long that no calls are given to the actors in their dressing rooms, they 
being able to sense exactly when they are due for their scenes. The 
other night EDWARD ELLIS, who plays the Doctor, fell asleep in his 



[166] 



THEATRE MAGAZINE. SEPTEMBER, Ittt 




RICHARD BARTHELMESS 
Sending his opinion concerning pic- 
ture censorship through the air from 
a envernmfnl hrnnrlraptins station to 
several hundred thousand movie fans 
who have become radio fans as well 



MARIA BAZZI 

An emotional actress of considerable 
repute in Italy, where she has enacted 
the leading roles of continental drama- 
tists. New York will see her for the first 
time in October in "The Inevitable," 
a new play by Charlotte E. Wells 




Juley 

THERESA HELBURN 
Executive Director of the Theatre 
Guild and largely responsible for that 
organization's marked success. From 
an oil portrait of the modern school 
done recently by Marion Beckett 



MARIO CARILLO 

In Italy none other than the Count 
Mario Caracciolo di Melito, who' hat 
abandoned the circles of aristocracy 
for the films. Count Caracciolo hat 
appeared opposite Irene Castle and 
bids to rival Valentino as an inter- 
preter of lover roles 



White 

NIKITA BALIEFF 

There is no reason we know why the genial 
compere of the Chauve-Souris should look so 
disgusted with the excellent carved likeness 
of one of the "Wooden Soldiers" whose march 
has helped bring him fame. Perhaps it's be- 
cause of New York's heat, but even that isn't 
so bad on the Century Roof, the present home 
of the Russian vaudevilliani 




= ^-- ' . ' 



Marcia Stein 



Ira L. Hill 



THE MOVING WORLD 
A Page of Interesting Personalities Here and There 



[167] 



dressing room during the second act, after a hard day at golf. When the 
time came for his next scene the frantic stage manager, in desperation 
at not being able to find Mr. Ellis, dashed onto the stage himself and 
began delivering the lines. Quite apart from the astonished company 
were the startled faces of the unfortunate audience, who were called upon 
to solve a further mystery, in this play of mysteries, as to why a char- 
acter should suddenly so change his stature, face and dress. 



Immediately after, walking down the street with her husband, John Craig, 
they met his friend, Mr. Ben Roeder. On introducing his wife to Ben 
Roeder she proceeded to call him "Mr. Benroeder.'' When they parted 
Craig asked his wife why she had constantly referred to him as "Ben- 
roeder," to which Miss Young replied: "John, dear, I simply can't get 
them straight. I just met Ben Rimo and was told it was one nam:, so 
I presumed the same of Ben Roeder." 



ADELE BLOOD is joining the ranks of players who feel impelled to try 
the Orient. She is to tour Honolulu, Japan, China, Malay Peninsula, 
India, Egypt and Russia. Among the plays which she will do in those 
countries are "Anna Christie," "The Woman of Bronze" and "The 
Goldfish." 

HINT OF NEW ULRIC PLANS 

JjENORE ULRIC is eventually to step from the shoes of "Kiki" into 
those of "Mary, Mary, Quite Contrary," according to Belasco plans, 
"as heard on Broadway." The latter play is by St. John Ervine and 
it is a comedy. Mr. Belasco secured the American rights to it while he 
was in London last summer. 



IRENE CASTLE has listened to the lure of the West and is about to 
proceed to the Coast, where she will appear during the last three months 
of the year. Her dancing partner will be Ward Crane. 



I saw PEARL WHITE on Fifth Avenue the other day. 
The last time was a year ago in Bermuda where she 
went to do a picture with a flock of wild tigers. I:i 
the meantime she's been in Paris in a revue at the 
Casino de Paris which I understand was awful. (Dull, 
not wicked!) In fact it was so bad that the poor 
old theatre burned down in its successful effort to get 
rid of the entertainment it was housing. 



The haze of mystery that has surrounded MRS. FISKE'S plans for the 
past year has been dispelled if the rumor has any truth in it that she is 
considering the part of Mrs. Upton in Katherine Haviland Taylor's 
story, "Mrs. Upton Has Her Fling," which has been dramatized by 
Hadley Waters and re-titled "Good Gracious, Mother." A. H. Woods 
is to produce the play. Stranger things have happened in the theatre 
than the appearance of Mrs. Fiske under the Woods' banner. 

HULL HAS HORSESHOE 



AVERY HOPWOOD, a rising young playwright, who, 
they say is never happy unless he has six shows run- 
ning at once, says of a chorus girl friend of his who 
has risen recently to some little fame that since her 
success she has broadened her "A's" but narrowed her acquaintances! 




HENRY HULL was approached by the finan- 
cially weak organization that planned bringing 
"The Cat and the Canary" into New York he was asked 
if instead of his usual salary he would accept half of 
it, plus a share of the possible profits. Having faith 
in the play, Hull snapped his fingers at care and took 
the plunge. As everyone knows, the piece is one of 
the big financial winners of the past season and still 
goes strong. Brother Hull's share is uncertain from 
week to week but it hasn't yet gone below tiuice his 
usual salary! 



WALTER WANGER is in London running Convent Garden as a movie 
house. He tried the Fairbanks "Three Musketeers" but the world's 
biggest town didn't fall for the high prices. 



YANCSI DOLLY and CLIFTON WEBB are very much the rage in 
Paris. They dance nightly at the Acacia. Meanwhile poor MAURICE 
lies desperately ill with tuberculosis at Deauville. 



ROBERT MANTELL and his wife, GENEVIEVE HAMPER, who 
returned to America after a two months pleasure tour of Europe, last 
June, will play in Shakespearian repertoire again this winter and then 
they are planning to take their company to Japan for a three months 
engagement in Shakespeare. Robert, Jr., Mantell's fifteen year old son 
is acting with them. 



I hear MARGUERITE CLARKE may return to the boards this year. 
She has not been seen in the legit since "Prunella." 



Every one is wondering just how long ARNOLD DALY will remain 
under the management of Joseph M. Gaites who plans starring him in 
"The Monster." Nearly every season Mr. Daly seems to have a new 
manager. Changing them appears to be the greatest of all indoor 
sports to the redoubtable Arnold. (As we go to press news arrives that 
the clash has come. The incorrigibly hot-headed star has marched out 
of rehearsals because of some trifling quarrel and will go into vaudeville.) 

RIOT AT WINTER GARDEN 

JF all chorus girls decided to break up their dressing rooms every time 
a musical comedy failed there would indeed be chaos in the theatre. 
Broadway is still commenting on the action of the fair choristers in 
"Make It Snappy," at the Winter Garden, who became furious when 
the show closed last July and proceeded to wreck the dressing rooms. It 
appears that they had anticipated a summer's engagement. Much dam- 
age is reported to have been done before their anger was finally appeased. 
And, of course, foi obvious reasons, the police were not called in. 



It has been definitely decided that HARRY BERESFORD is to play t'.ie 
principal part in the play based upon Don Marquis' amusing character, 
the "Old Soak." Mr. Marquis has made the dramatization himself and 
the play will be produced by Arthur Hopkins. Those who have read 
the play in manuscript form prophesy that it will be another "Lightnin.' " 
Incidentally, it may be mentioned that George Fawcett was to have 
created the part of the "Old Soak" but the plans miscarried in some way 
and it is rumored that considerable unpleasantness arose when Mr. 
Hopkins finally announced that Beresford had been selected. 



JOHN CHARLES THOMAS, the American baritone, has scored a big 
success in London and Paris on the concert stage. He is expected to 
return on September 1st for a concert tour here. 



It is rarely that two stars appear simultaneously in a new play in two 
different cities. Present plans call for the appearance of LOU 
TELLEGEN and WILLIAM FAVERSHAM in "On the Stairs," a new 
mystery drama by William J. Hurlbut Tellegen in Chicago and Faver- 
sham in New York. There is no record of this theatrical experiment 
ever having been made before. 



MARY YOUNG was being interviewed by J. Harry Benrimo and 
insisted on calling him "Mr. Rimo," much to Mr. Benrimo's irritation. 



"Marjolaine" will be done in London with MAGGIE TEYTE in the 
title role. PEGGY WOOD will probably appear in the piece when it 
goes on tour here. 

BIG NAMES FOR AMERICAN CHAUVE-SOURIS 

]\OVEMBER 6th is the date set for the first performance to be given by a 
group called "The Forty Niners," at the Punch and Judy Theatre under 
the auspices of GEORGE C. TYLER. The program will be made up of 
sketches and musical numbers, and the initial contributors, who are 
members of the group, will be ROBERT C. BENCHLEY, HEYWOOD 
BROUN, FRANKLIN P. ADAMS, GEORGE S. KAUFMAN, MARC 
CONNOLLY, GEORGE ADE, HARRY LEON WILSON, DOROTHY 
PARKER, MONTAGUE GLASS, EUGENE O'NEILL, ARTHUR H. 
SAMUELS and BOOTH TARKINGTON. Certainly there could be no 
more distinguished group of writers in the country than those Tyler 
has lined up. Kaufman and Connolly, authors of "Dulcy" and 
"To the Ladies," will direct and prepare the programs of the new 
organization. 



[168] 



THEATRE .MAGAZINE, SEPTEMBER, 1927 



THE AMATEUR STAGE 



Edited by M. E. KEHOE 




T. L. Sweet, of the Class of 
1922, Brown University, gave a 
splendid characterization of the 
Czar in the Sock and Buskin 
proluciion of "The Nihilists" 




THE PRINCETON TRIANGLE CH'B 

Using the same cast that contributed to 
the joy and verve of their most recent 
musical comedy success, "Espanola," the 
Triangle players have broken their 
musical comedy tradition established by 
Booth Tarkington with his "Hon. Julius 
Caesar" twenty-five years ago, with the 
production of a serious play. Bernard 
Shaw's "The Devil's Disciple" was chosen 
as their first venture, the performance 
proving a surprise to the alumni who had 
been curious to know whether they could 
stage and act a serious play successfully. 
The scene above is from the first act, in 
which three Princeton ladies played the 
women's roles. The Triangle's yearly 
musical comedy has grown to be an insti- 
tution and it is to be hoped that Th's first 
attempt at serious drama may be the for., 
runntr <>f _ otherg . enually successful 



The Sook and Buskin Society, Brown University, recently did a notable thing in producing Oscar Wilde's "The Nihilists" 
probably the first time this play has been given since its original production. The scene above was taken at the end of 

the second act 



A Yearly Pilgrimage 



By W. E. ABRAHAM 



OUR fathers trained us to work, not 
to play, to look for success, not hap- 
piness, career not life, and the result 
of their training is apparent in the hopeless 
muddle we have made of things in our day 
and generation. We were not taught to 
use our leisure rightly and so we spent that 
leisure getting into mischief. And failure 
to consider we needed play as well as work 
was the root cause of all the trouble. 

Yet, as Schiller says, it is in play that a 
man feels himself matter, knows himself 
spirit and has a complete intuition of his 
humanity. It Is the education of the play 
instinct that leads towards a higher appre- 
ciation of the best things in life, both in 
art and in morals. 

We have discovered our mistake. A re- 
turn is being made to better things. Here 
and there schools are beginning to give 
serious thought to the problem of aesthetic 
education and there are not wanting signs 
that the children of today are being taught 
to get more out of life than their fathers 
succeeded in getting. They are being trained 
as individual souls, not as "cannon fodder," 
they are being led to forsake the teachings 
of imperial Rome and return to the eternal 
ideals of Hellas. 

For ideals never die, they are merely 
hidden for a season. Sometimes, they are 
to be found in the agora, sometimes they 
may be sought for in the hermit's cave. 
Awhile their altars may seem to be de- 
serted, desecrated even, yet never through 
all the ages has there been wanting a hand 
to tend their sacred fires. When they 
seemed to have deserted the market place, 
men made pilgrimages to find them. So 
our fathers, in their hardy way, despising 
the religion of the cushioned pew, set out 
to find God in nla/-- wKpi"- j - v v knew 
he loved to be, in stables ana to ..Jens, for 
instance. With the increase of cushioned 
pews, the pilgrim idea seems to have trans- 
ferred itself from religion to art, yet the 
essential idea of a pilgrimage is always re- 
ligious. A visit to the old home, years 
after, what is it if not an attempt to revive 
in ourselves lost faiths, forgotten ideals? 
And for those of the market place who find 
themselves growing pessimistic over the 
results of wrong ideas of education, the 
writer would recommend a pilgrimage to 
a shrine he knows of, a shrine where lost 
faiths are being revived, where forgotten 
ideals are being restored to pristine splendor. 
It is not on Broadway. It is in a garden 
far away from the busy haunts of men. 
When you get there it seems Arcadia, but 
the prosaic circular refers to it as Mill- 
brook, near Poughkeepsie. There, at the 
Bennett School of Liberal and Applied 
Arts, one will find a shrine dedicated to 
the eternal ideals of Greece, a school which 
resolutely turns away from all merely 
utilitarian standards, a home where art is 
considered an essential in life, not a mere 



frill to be added or not at pleasure. Here, 
no art is neglected. 

'"PHE present year marks a fresh advance 

in their work through the addition of a 
Greek theatre to "the plant." Here Eu- 
ripides is played with such reverent love, 
understanding and sympathy that it is 
enough to console the shade of the great 
poet for all the derision and misunder- 
standing he has suffered through the ages. 
"Alcestis" is the play for this year and 
its first performance on May thirteenth 
marked the dedication of the new theatre. 

Mr. Horace Middleton, the composer of 
the music, has set several other plays and 
is rapidly becoming a past master in the art. 

Mention must also be made of his setting 
of the Athenian dithyramb of Pindar, 
translated by Charles Rann Kennedy and 
used as a prelude to the play. Clad in the 
hues of spring, a chorus enters, singing and 
dancing around the altar of Dionysius. 

Of these choral dances the genius and 
director is Miss Margaret Gage, who has 
become so infused with the Greek spirit 
that her creations seem like a temple frieze 
suddenly endowed with miraculous life. 
She is herself one of those rare personalities 
that seem always poised on tiptoe and ready 
for flight and the girls she trains have 
caught from this spiritual charm and grace. 

Miss Gage also takes the name part in 
the play and no better choice could have 
been made. For, in "Alcestis," more than 
in any other of his heroines, Euripides has 
typified the upward looking woman who 
gradually attracts the Admetuses of the 
world away from inward and egotistical 
porings. 

r THE difficult and sometinfes ior..'Vviptible 
part of Admetus is in the all-capable 
hands of Miss Edith Wynne Matthison, 
which is equivalent to saying that it is 
interpreted with authority. The sex of a 
part, is to Miss Matthison a matter of no 
moment, it merely serves to show her ex- 
traordinary versatility. One remembers, in 
time past, how much a matter workaday 
commonplaee it was for her to step from 
the winsome waywardness of a Rosalind to 
the remorseful agonies of a Lady Macbeth, 
and so it is not to be wondered at if her 
Admetus this year is quite as different and 
quite as beautiful as her Electra of last 
year's play. She has many gifts by nature, 
but the extraordinary power and flexible 
music of her voice is due to long years of 
travail and many passionate sympathies. 
For sympathies have a way of finding their 
own peculiar timbre. On this account they 
can never be feigned. Miss Matthison, 
taking Admetus into the wide circle of her 
sympathies, makes him a pathetic human 
figure, not a caricature of one vice as some 
of the Classical crackpots would interpret 
him to be." 



The role of Heracles was assigned to 
Mr. Charles Rann Kennedy, the director 
of the drama school. Peculiar vraisem- 
blance was added to the part by the fact 
that Mr. Kennedy is a man of large mould 
and in contrast with his girl pupils he as- 
sumed proportions astonishingly Herculean. 
He was equally fitted for the part in other 
respects. For, being a dynamic person him- 
self, Mr. Kennedy loves dynamic people. 
And Heracles is a "live wire." The vital- 
ity, vigor and inspiration of Mr. Kennedy's 
acting is very stimulating. It explains to 
us the secret of his success in directing the 
school of drama. Daily shocks from the 
Kennedean reservoir of faith, vision and 
enthusiasm would wake up dramatic feel- 
ing in the veriest dolt. 

THE remaining parts in the play were en- 
tirely in the hands of the girl drama 
students and it is a further testimony to 
the training they have received from Mr. 
and Mrs. Kennedy when one says there is 
no feeling of want of balance between 
teachers and scholars. It is no overpraise 
to say that just as the new theatre is a 
perfect miniature of the theatre as used in 
ancient Greece, so the acting of the stu- 
dents is a perfect miniature compared to 
that of the more experienced actors. Add 
youth, beauty and grace and the lack of 
experience become a negligible quantity. 

One thing more, however, must be con- 
sidered without which youth, beauty, grace 
or technique would be ineffectual. The one 
thing needful is Faith. Therein lies the 
secret of the charm of the Bennett repre- 
sentations. The work is really approached 
in a religious spirit and the plays rendered 
as a religious act, "the Mass of Athens" as 
Mr. Kennedy has called it. This is the 
only way in which these plays can be acted. 
They never strive after effect, nor drag in 
patriotic or religious motifs with an eye to 
box office receipts, their whole aim is a 
striving with unbelievable patience and 
tireless pains to express some invisible im- 
mortal ideal in visible mortal forms! In 
this the Greeks attained a mastery given 
to no other nation and reached a standard 
of citizenship denied even to this age of 
aeroplanes and poisoned bombs. 

The first performance of the "Alcestis" 
closed with a scene of enchanting loveli- 
ness. It closed, as it began, with Bindar's 
Athenian dithyramb together with an un- 
rehearsed effect which added to the signi- 
ficance of the occasion. For, as the chorus 
slowly moved away, singing the ode, a 
shaft of sunlight, piercing between gray 
bars of cloud, pursued them as they went 
and bathed them in a glory of golden light. 
It was symbolic of the words they sang 
and the work they had done, work through 
which : 

"Mysteries holy, in effulgent symbols 
Burst into daylight." 



[170] 



THEATRE MAGAZINE, SEPTEMBER, 1922 





In these strikingly beautiful scenes from "Alcestis," in which Charles 
Rann Kennedy and Edith Wynne Matthison appeared with their 
students at the Bennett School, color scheme played an important part 
in the costuming of the production. The chorus was costumed in 
soft heavy draperies in neutral tones of violet, blue and green with 
stenciled orange borders, their tunics and head bands of serpentine 
crepe dyed to match the draperies 

Edith Wynne Matthison, in the role of Admetus, was impressive in a 
midnight blue tunic over a royal purple drapery stenciled in an 
all-over pattern in midnight blue, with headband to match, while 
Margaret Gage as Alcestis presented a lovely figure in sheer flowing 
material of clear light yellow, roughly pleated in archaic folds, her 
chiffon veil held in place by an amethyst-studded golden circlet 



(Above) 

Margaret Gage, who directed the 
choral dances, also took the name 
part in the Greek play "Alcestis," 
presented in the new outdoor the- 
atre at the Bennett School, under 
the direction of Charles Rann Ken- 
nedy and Edith Wynne Matthiton. 
Miss Gage is shown with Mr. 
Kennedy and Misi Matthiton in 
the roles of Heracles and Admetns 
respectively, and the chorus of 

students 



Photos Alice Boughton 




An Out-Door Production of The Alcestis of Euripides 



[171] 



Community Dramatic Activities 



By ETHEL ARMES 
Community Service, Incorporated 



IN the forthcoming national Recreation 
Congress to be held in Atlantic City, 
October 9-12, Amateur drama will be 
among the major topics for discussion. 

As a significant form of cultural activity 
Amateur Drama is coming to hold an im- 
portant place in all community recreation 
plans. Churches, colleges, schools, settle- 
ments, clubs and organizations of various 
kinds are uniting in its development. 

Dramatic Departments are being formed 
in numbers of colleges and schools that 
never before considered the subject worth 
while. Today Amateur Drama is at last 
becoming recognized as one of the great 
co-ordinating forces of education, the me- 
dium through which History, Literature, 
Painting, Music, Science and Handicraft 
may be co-related, vivified and thus brought 
to the acute realization of students. The 
work that has been done by Percy Mackaye, 
Frederick Koch, George W. Baker, Hazel 
Mackaye, Elizabeth Grimball, Constance 
Mackaye, Montgomery Cooper, Dorothy 
Coit, Nina B. Lamkin, Elizabeth Hanley, 
Corinne Fonde, Maude Scheerer, Joy 
Higgins, Percy Jewett Burrell, Elizabeth 
E d 1 u n d, Rosamund Kimball, Florence 
Wilbur, May Pashley Harris, Sue Ann 
Wilson, George Junkin, Edna Keith, Mar- 
jorie Day, Imogene Hogle, Pauline Oak, 
M i n n e 1 1 e Zuver, Mabel Tallmadge, 
Dorothy Elderdice and many others has 
reached thousands upon thousands of peo- 
ple, in large cities and small towns from 
Massachusetts to Florida, Florida to 
Texas and California all through the 
Middle West and to the vast Northwest. 

Every day this work, under such leader- 
ship, is bearing fruit. 

Quite apart from The Little Theatre, 
the assembly hall, auditorium and campus 
productions are the numberless festivals, 
ceremonials, and holiday celebrations di- 
rectly tied to the playground and physical 
recreation movement. Such classic Field 



Day patterns as have for instance been 
wrought out by Joy Higgins in Massa- 
chusetts in The Tourney of King Arthur's 
Day by Dorothy Elderdice in Maryland 
in her Olympian Games Pageant, would 
serve to give royal background, poetic de- 
light, inspiration to any college school, 
camp or playground in the land. And just 
as jolly sports! 

Why not always have the physical acti- 
vities thus linked with the cultural every- 
where? So the topic such a word for 
such a wo*rld ! will be set before the Rec- 
reation Congress. No one knows so far 
just what will be said or who will say it. 
Professor George Baker of Harvard will 
be one of the speakers, so will Dr. W. C. 
Horton of the Raleigh Players of Raleigh, 
N. C. and many others. 

E purpose of this Congress, called by 
the Playgrounds and Recreation Associ- 
ation of America and Community Service 
(Incorporated) is to provide an opportunity 
for the men and women who are interested 
in increasing the sum total of recreational 
opportunities in their towns and cities to 
get together to share experiences and in- 
formation. 

City superintendents of parks and rec- 
reation, directors of community centers and 
settlements, church workers, directors of 
boys and girls clubs, teachers of physical 
education and child welfare experts are 
among those who will be present. 

They will discuss recreation for big 
cities, for small towns and for rural dis- 
tricts. They will exchange opinions on 
such varied subjects as community drama, 
community music, neighborhood organiza- 
tion, home play, recreation in industries, 
recreation in connection with churches, 
compulsory physical education, the admin- 
istration of municipal recreation camps, 
swimming pools and activities of all kinds 
for boys, girls and adults. 



This is the Ninth Recreation Congress 
to be held in this country. Since the last 
Congress, called in 1916, the recreation 
movement has made such marked progress 
that this promises to eclipse all previous 
gatherings in interest. The lessons learned 
during the war in communities upon whom 
were thrust the responsibility for providing 
wholesome recreation for thousands of ser- 
vice men, and the experience which has 
grown out of it all in organizing commu- 
nity-wide recreation will be brought to 
this Congress. 

THE Pageant of Towanda" was given 
on July 4th by the people of Towanda, 
Pa., Elizabeth H. Hanley directing. Few 
pageants have come nearer to the ideals of 
Community Service than this one, in that 
it was done largely by the people them- 
selves and that they were brought together 
in all of the departments of the work, 
artistic, business, publicity, organization 
and general details, and inspired to initia- 
tive and achievement. 

It was done with very little expense as 
the 300 participants furnished their own 
costumes. The music, of an exceptionally 
high order, was furnished without charge. 
The orchestra, comprised of Towanda 
High School girls and boys was directed by 
the Supervisor of Music in the schools, Miss 
Leah Chubbuck. The dances too were 
excellent, especially the Indian dances, and 
were directed by the teacher of physical 
education in the Towanda schools, Miss 
Elizabeth Snyder just a slip of a girl. 
Young men and boys did the Warrior 
Dance. The work on the stage and 
grounds, the rooms for rehearsals, the 
music for rehearsals, chairs and tables were 
all contributed by the people. Refresh- 
ments were sold on the grounds. From 
four to five thousand people were present. 
The community organizer of Towanda 
(Continued on page 200) 



T 1 HE out-of-doors theatre 
now in process of con- 
struction, to be used for the 
first time in June, 1925, for 
the second presentation of 
the pageant commemorating 
the one hundred and fiftieth 
anniversary of the Battle of 
Lexington. 

The historic town of Lex- 
ington, Mass., is decidedly 
forward-looking. Under the 
direction of Mr. J. Wil- 
lard Hayden, Jr., it is start- 
ing the work of preparation 
for the pageant to be given 
in 1925 three years in ad- 
vance! One of the interest- 
ing features of this well 
thought out theatre is its 
three stages. First, the 
artificial lagoon, which, 
when played upon by lights 
of varying degrees, will act 
eg a curtain for the two 




stages in back of it then 
the greensward, and just 
beyond it a raised plank 
stage on which will be set 
the buildings representing 
Lexington Common as it 
looked on the memorable 
morning of April 19th, 
1775. Workshop and dress- 
ing rooms will be built 
beneath this stage. Long 
vistas are being cut through 
the natural woodland in the 
background making it pos- 
sible to show advancing 
troops 1500 feet away from 
the stage itself. The Lex- 
ingtonians plan to make 
their pageant of 1925 the 
best in history, and if in- 
finite care in the working 
out of details counts for 
anything, the success of 
the pageant is a foregone 
conclusion. 



[172] 



THEATRE MAGAZINE. SEPTEMBER, 1922 



FASHION 



c4s Interpreted by 
the cActress 




j Mil Russian influence is seen again 
* very noticeably in ihe first Fall 
costumes the long waist line on frocks 
and jackets, with the wide bands of 
fur around the hips, the cape-manteau, 
the brilliant colorings, and metallic 
materials. . . And all these several 
features are incorporated in this cos- 
tume from Boue Soeurs, of New York 
and Paris, which Mi-- Grace Thomas 
of the Famous Players wears. The 
main material of it is heavy crepe 
banded with black fox fur, while the 
blouse is a most unusual creation of 
rich gold and black metal cloth, com- 
bined with lingerie embroidery on 
cream color organdie and orange hand- 
made roses with centers of gold. 

Note the odd cut of the cape! If 
one is to include a cape in one'i 
wardrobe, it must no longer be simple, 
but of a distinctive pattern, verging 
on the nature of a wrap. Note Miss 
Thomas's hat also, with its wide brim 
turning back from the face, the last 
word from Paris, and a mode of which 
you will see more later 



Royal Atelier 



[173] 




THE BEAUTY OF THE NEW FROCKS 



FOR EARLY AUTUMN ARE SHOWN 



BY THREE OF THE BEAUTIES FROM 



THE NEW 1922 FOLLIES 



White Studios 



The inspiration for this Renee frock came 
from two Grecian cameos which were 
mounted in gold beads and placed to hold 
the full panels swung from either side of 
the skirt. For the rest, the gown is in 
the new color for evening, green, and is 
worn by Miss Marie Shelton 




A close.up of Mis Sbelton 
showing the detail of the 
gold and pearl beading on 
her pale green frock, and 
her headdress of sparkling 
laurel leaves 



Here are very new notes, indeed, in Miss 
Shelton's frock, not alone in the extreme 
length of the skirt and the tide panels, 
but in the color of the frock which is a 
distinct olive. Crystal beading, done with 
exquisite care on olive chiffon, completely 
covers the gown, the narrow borders being 
of crystal bugle beads 




[174] 



THEATRE MAGAZINE, SEPTEMBER, 1922 





This is not a frock and separate 
cape that Miss Helen Gates of the 
Follies is sporting, but a whole 
outer covering, what one calls a 
Russian mantean, the cape forming 
part of the garment. The material 
il Pauvelaine and the bands trim- 
ming it, as is fit and proper, are 
of sable. From Hickson 



1 



White Studios 




Chiffon having once again become 
a favorite fabric in Paris, Bonwit 
Teller makes the choicest daytime 
frock of it in navy blue embel- 
lished with narrow tucks across the 
bodice, on the full sleeves, and at 
the top of the skirt, adding ai well 
rows of self-tabs. Miss Eva Crady 
of the Follies is its wearer 



Again Miss Eva Crady! 
Again in chiffon! This time 
in a dinner gown of black 
with the trimming Paris has 
fancied so much of late, 
ladies please take note, nar- 
row fluted frills of valen- 
ciennea lace. From Bonwit 
Teller 



[175] 



What Every Actress Knows About Beauty 



By MME. HELENA RUBINSTEIN 




Miss Maxinc Elliott, whose 
beauty has stirred two con- 
tinents, knows that her 
fine-textured ivory skin 
requires one type of treat- 
ment 



IN a practice so large that it extends all 
over the world, it may be imagined 
that I have met with many actresses. 
Of all the women whom I have treated 
and advised, I think those of the theatrical 
profession have proved the most intelligent 
and the most quickly responsive. 

I often feel tempted to say to the people 
who believe in 
"letting Na- 
ture alone" : 
"Just look at 
the actresses 
you see. Usu- 
ally their com- 
plexions are 
lovely and, as 
they advance 
in years, they 
keep their 
looks far bet- 
ter than other 
women. Does 
it never occur 
to you to won- 
der why?" 

As a beauty 
specialist 
there is no- 
thing mysterious to me in the fact that 
women who use cosmetiques practically 
every night of their lives have healthier 
and more attractive skins than the people 
who never even use powder. 

The actress has this one great advantage, 
of course. She is accustomed to handling 
the skin. She knows that she must watch 
her face note whether the pores are be- 
coming relaxed, or her skin is dry, and so 
on, and as her looks are vital to her career, 
she never lets things drift. She feeds her 
skin, and softens it, as a matter of course, 
in removing make-up. From seeing the 
effects of cleansing cream, she is easily able 
to understand the value of skin-stimulants 
and tonics, which are quite as important as 
creams and are not generally understood 
by the lay woman who has been taught 
that if she rouges, powders and creams 
her face, she knows all there is to beauty 
culture. 

The actress also knows that to achieve 
certain effects in make-up she must use 
several preparations. She is not surprised, 
therefore, that she may have to do the 
same thing to secure certain complexion- 
effects that do not depend upon make-up. 
Constant watching of one's looks brings 
also a better understanding of the many 
circumstances that affect the skin. In cold 
weather, when the wind and low tempera- 
ture make the skin fragile and inclined to 
line, very few "in the profession" would 
wash without first covering the face and 
throat with cream, so that the pores may be 
penetrated by some actively strengthening 
preparation at the same time that the sur- 
face dirt is being removed and the skin sub- 
jected to the drying after-effects of water. 
I am talking, bun entendu, of the leaders 
of the theatre those women whose suc- 



cess is a guarantee not only that they have 
brains but that they use them as well. I 
wish I could explain to the many women 
who, alas, know so little about beauty cul- 
ture, the various methods that can be em- 
ployed both to beautify the skin and to 
avert signs of age. The value of skin 
stimulants cannot be overestimated in keep- 
ing the complexion fresh and young. The 
only way in which the blood can be brought 
close to the surface, so that it may nourish 
the tissues, is by the application of a good 
stimulant. Even exercise will hasten the 
general circulation of the blood, without 
specifically bringing any flow to the face 
or throat, but a tonic or stimulant will 
hasten it just to the parts that need it. 
Directly a line or a wrinkle appears, it 
shows a lessening of skin activity. This is 
the whole cause of signs of age, and if you 




Mile. Sybil de Bray has 
an animated glowing com- 
plexion that well expresses 
her vivid personality 

correct the cause, the disappearance of the 
effects follows logically. 

Even quite young women need stimula- 
tion to preserve the firmness of the contour 
and the tension of the skin, because every- 
thing that tires, everything that causes 
Nature's processes to slacken such as a 




And Eve Lavalliere pre- 
sents with her dark type 
of beauty and warm olive 
coloring a distinct con- 
trast to the other three 




rushed day, or an anxious hour, or heavy 
responsibility, mental strain of any kind 
reacts on the skin and gives it the worn, 
weary look that suggests age. 



Very few people have absolutely perfect 
skins. The skin, too, may be quite normal 
without being in the least beautiful. But 
most women have a tendency either to 
dryness of the skin or to shine, which is 
really oiliness. 

And every preparation that is used should 
be of a character to correct its specific flaws. 
If the skin is 
oily the creams 
used should 
always be of 
an a s t r i n- 
gent kind and 
ought not to 
be left on > 
for long, but r 
worked brisk- 
ly into the 
pores with a 
hot towel and 
soon removed. & 

A great deal 

of harm has Miss Lily Brayton, with 

been done bv her ty ' lical E "s' is h c m - 

, plexion, living in the 

U . S ' English climate, must have 

heavy, inactive a beauty regime dissimilar 
creams, which to the American actress 

clog the pores 

and prevent the skin from breathing freely. 
Drying preparations, such as harsh soaps, 
or many crude and inactive preparations, 
have proved even more of a menace to 
beauty, as these destroy the skin's powers 
of resistance by checking the natural hu- 
midity, which is a great complexion pre- 
servative. Even the oily skin should never 
be dried. It needs refining, which is an 
altogether different thing, as this means 
simply to reduce the size of the pores and 
control their action, but not to prevent or 
take away the secretions upon which the 
skin feeds. 

But it is almost impossible to generalize 
or tell any woman exactly what to do, 
unless you know her type of skin and have 
an understanding, too, of its specially in- 
dividual characteristics. The skin may need 
toning up or toning down, whitening or 
giving color, refining or building up, reju- 
venating, invigorating and a hundred 
other things, but the point I want to em- 
phasize is that this can be accomplished only 
if the skin is considered and treated as 
something unique and not universal. There 
is no "general skin." Each complexion is a 
trifle different from every other. It is the 
understanding of these subtle differences 
that makes the culture of beauty a science. 

Undoubtedly the time will come when 
women will realize that every preparation 
they use simple things, even, such as soap 
and cleansing cream, rouge or powder - 
can be adapted to the personal needs of the 
skin, and make-up will then become beauty- 
building as well as beautifying. 

I wish I could gather together at one 
time all the wonderful actresses who have 
been and are under my care. It would be 
a historic gathering from the point of view 
of the drama. 



[176] 



THEATRE MAGAZWE, SEPTEMBER, 1922 



Featuring Speed Combined With Grace 

And Showing Cars That Are Made in This Country and Abroad 



00)00) 




A five-passenger Fiat Sedan affec- 
tionately termed the "Baby Fiat." 
It ia one of the most remarkable 
high-grade small cars produced 
being capable of a high speed, yet 
very economical and easy of opera- 
tion. As witness of the fact thai 
high speed small motors can be fas: 
the French Grand Prix was won 0:1 
July 15th by a Fiat car 



Here is Gloria Swanson, who has 
just completed a Paramount pic- 
ture called "The Impossible Mrs. 
Bellew," with her new all-weather 
car. It has a custom built body, 
extra large trunk rack, steel wheels, 
and a novel rear mud guard ex- 
tending to the end of the spring 



An imported four-seater light touring 
car, that of the English Sunbeam Com- 
pany, whose 6-cylinder engine gives it 
great power, especially where hilly or 
difficult country is to be negotiated. A 
long wheel base, neat low-hung body, high 
running board, and many olher features, 
all go to make up a car of distinct and 
original character 



The long graceful lines of this Studebaker 
Big-Six Speedster are accentuated by the 
disc wheels, the traveling trunk and the 
bumpers front and rear. The tilt of the 
front seat and an upholstered arm-rest 
dividing the rear seat provides a new 
degree of riding comfort, and the body 
finished in Studebaker blue with touches 
of gold gives an air of exclusiveness 



[177] 




Artistic Interiors From the New 
York Residence of Martin Beck 

When not engaged in directing the affairs of 
the Orphetim Circuit, Martin Beck's favorite 
diversion is the gentle art of interior deco- 
rating. Their home bears witness that both 
Mr. Beck and his wife are amateur decora- 
tors of no mean ability 



(Above) 

The dining room was 
purchased by Mr. Beck 
at the Tolentino sale of 
1920 and transported 
from the Chateau de 
Roiny, only the poly- 
chrome ceilings having 
been made in this 

country 




(Below) 

The living room is en- 
riched with a famoni 
Renaissance tapestry de- 
picting the Siege of 
Troy (shown in detail 
below) 



One of the novelties of the house is a combination 
living room and dining room separated only by a 
balustrade and marble stairway giving access to the 
dining room which is raised two feet above the 
living room 




[178] 






THEATRE MAGAZINE. SEPTEMBER, 1922 



(Below) 

Simplicity and richness of appoint* 
ment mark the entrance hall to 

till! tVCIi I HUH ..III K.It i,( III 1C Wllich 

has a completely equipped gymna- 

eiura installed on the fourth floor, 

and on every floor, a special pantry 

and ice box service 



(Right) 

An interest inp note in the 
third floor library is the 
combination of roufch stuc- 
ce walls and oaken beams 
which rapport the book* 
helve* and form a receta 
for the fireplace, making a 
frame, at it were, for the 
entire room 




(Left) 

What more fitting selling for a Welte Mignon Organ 
than the framed niche which was evidently built 
into the living room for the organ an arrangement 
so devotional in its aspect as to reveal plainly Mr. 
Beck's appreciation of that superb instrument 



[179] 



The Promenades of Angelina 

She Goes With Tubby to the Newly Arrived Wiener Werkstnette on Fifth Avenue 




In a small passageway at the Wiener Werkstaette 
are niches, each one enshrining a small work of 
art, a silver and enamel clock, a bracelet with 
green crystals, a hand-wrought brass box 



WHAT a help Tubby is to me, to be 
sure! Between us, I don't think 
we lose a trick around town. . If 
there is anything we have missed, as they 
say, I beg its pardon. . At any rate, it 
doesn't happen to be the Wiener Werk- 
staette, for which I'm truly thankful. . 

What is the Wiener Werkstaette ? 
That's what I'm coming to . . that's what 
my story is all about. . 

Tubby came to me with this find. . 
He'd been on one of his usual parties 
somewhere or other, and someone was rav- 
ing about having been to a "varnishing 
day" . . and, said he, that sounds as if 
it should be something for Angelina. . 
Anyway it's as good an -excuse as another 
to take her out to lunch. . We'll go to 
Voisin's where they have such delicious 
cold dishes for hot summer days, and then 
we'll hunt up the Wiener Werkstaette 
after. . 

We did as programmed by Tubby. . 
Lunch at V's . . and then across to Fifth, 
and down to the corner of Forty-seventh, 
and up one flight in the elevator. 

And Oh, what an enchanting place! 
Josef Urban is listed as President and Mrs. 
Anne Moore, his sister-in-law, as the busi- 
ness manager, but really it's her "pidgeon," 
I think. . 

The original Wiener Werkstaette . . 



in case you don't know . . was started 
years and years ago in Vienna among a 
group of young architects. . We plan our 
houses according to modern artistic ideals, 
they fretted among themselves, and then 
the whole scheme is spoiled, because with 
the best will in the world, there are no 
modern artistic things with which the in- 
habitants may furnish them. . So they, 
the architects, set to work to design these 
furnishings themselves . . . and to gather 
round them young artists with ideas . . 
and to hunt up skilled artisans and peasants 
who could execute their ideas through the 
beautiful old hand methods. . They de- 
signed silver and pottery . . and hangings 
. . and wall-papers . . and lace . . ex- 
pressing their imaginations in amusing and 
novel ways. . I can remember numbers 
of "The Studio" coming to the house when 
I was quite young . . and how fascinated 
I was with the pictures of the exhibitions 
at the Wiener Werkstaette. . The modern 
art still seemed strange to America even 
then. . 

Then came the war, with disastrous re- 
sults to Viennese art, and leaving the artists 
of the Wiener Werkstaette stranded . . 
and then came along Mr. Urban and Mrs. 
Moore with their scheme for starting a 
branch of the movement here in New York, 
and affording an outlet for it. 

As I said above, what an enchantment 
the place is! The charm of novelty, as 
well as beauty, about everything. . A fairy 
tale quality that gets you. . Just how to 
convey it. . ,Let me try, at least, by telling 
you about one or two "high spots" over 
which Tubby and I were particularly 
ecstatic. . 

In the small circular room that you first 
enter as you go in were two delightful crea- 
tures, each on her own pedestal, that took 
Tubby's fancy as much as anything in the 
whole collection . . two dancing girls of 




Mrs. Josef Urban was the 
inspiration that led Josef 
Urban to design this tray- 
stand. The body of it is 
wood in black and silver, 
a silver top, fitting into a 
groove, that can be used as a 
service tray, and on which 
hot cups or iced glasses 
can be stood, thus preserv- 
ing one's best mahogany 



the East . . made of hammered silver and 
about a foot high . . with baroque 
pearls and other semi-precious stones set 
as embellishment in the silver. . You 
can't imagine anything more engaging as 
ornaments for a room than these glowing 
silver figurines, or, used in connection with 
flowers, as a table decoration. . I thrilled 
so over their siren charm that I have every 
hope that Tubby already knows what he 
is going to give me for my next birthday. 
. . Around the wall of this same first 
room were copies of some most extraor- 
dinarily interesting paintings by a Vien- 




A chair designed by Josef Urban that combines 
a maximum of decoration and comfort. The wood 
is gilded and the cushions which have the magic 
of both holding you up and letting you sink 
down are in striped red and white silk 



ncse artist, Gustave Klimt. . Though his 
pictures hang in every European gallery, 
people know little about him over here. . . 
In the short passageway leading to the rear 
room are amusing cupboards built into 
the walls and in each some small treasure. . 
a square clock of turquoise blue enamel and 
silver ... a bracelet for the white wrists 
of "beautiful women," of links of silver 
and green crystals, each link of an indi- 
vidual pattern. . Well, if Tubby should 
. prefer to give me that. . . 

The Viennese artists work a great deal 
in brass . . and they treat it as respect- 
fully as if it were silver or gold. . There 
are adorable little hand-wrought boxes for 
stamps, for sweets, for jewelry . . brass 
with enamel . . stunning hammered brass 
bowls for flowers. . In order that one 
may see how well all the flower recep- 
tacles are designed for their purpose, grace- 
ful sprays of real roses and other blossoms 
are placed in them here and there around 
the rooms. 

In the front room I went into ecstasies 
over a silver tea-set. . By a young man, 
named Peche, said Mrs. Moore. . So 
graceful, yet so solid and so delightfully 
practical . . with ivory handles to each 
piece, and carved ivory knobs to the sugar 
(Continued on page 188) 



[180] 



THEATRE MAGAZINE, SEPTEMBER, 1922 







Daniel \\febsteris Hat 



NE of Daniel Webster's 
famous retorts was to a 
young man when their 
hats got mixed. 

"Why, Mr. Webster," said he, 
"our heads are just the same size." 
"On the outside, perhaps," re- 
plied Webster. 

If there had been 10,000,000 
automobiles in Webster's day this 
might have hit off the feeling about 
tires as well. 

* * * 

To understand the tire situation today, 
go back to 1918, 1919 and 1920, when 
tire makers were jumping to catch up 
with the demand. In 1921 they more 
than caught up. 

And in 1922, every car-owner knows 
where he can get plenty of tires with 
plenty of big discounts. Plenty of bar- 
gains with ingenious sales -arguments. 

A vast quantity of merchandise he 
knows little or nothing about. 

* * * 

The quantity problem is history. 

It is all this quantity of tires and 
their wide variance in value that is 
making most car-owners determined to 
get quality. 

Hundreds of thousands of car-owners 
rode on Royal Cords last year. 



Current prices on United States 
Passenger Car Tires and Tubes 
are not subject to Federal Ex- 
cise Tax, the tax having 
been included. 



United States Tires 
are Good Tires 



Copyright 

1922 
U. S. Tire Co. 



m 



The unobserving man might say that 
this was reaching the limit of the qual- 
ity idea. 

Yet, in January, February, March, 
April and May, 1922, the sales of U.S. 
Royal Cords through dealers more than 
doubled over the same period of 1921. 
A new high record for Royal Cords. 

Spontaneous buying through dealers. 

A picture of the public voluntarily 
making U. S. Royal Cords the meas- 
ure of all automobile tires. 
* * * 

You have, perhaps, over- 
heard some other tire being 
sold for "as good as a 
Royal." 

At a time like this re- 
member what Daniel 
Webster said* 






; - .ag?3Bs 



U.S. Royal Card Tires 

United States -;<i Rubber Company 



Fifty-three 
Factories 



The Oldest and Largest 
Rubber Organization in the World 



Two hundred and 
thirty-five Branches 



i 



i 



[181] 



MISS WINIFRED KIMBALL who 

won first prize of $10,000 in the 

Chicago Daily News scenario 

contest. 




$10,000 reward for 
a Palmer student's imagination 



THE first prize of $10,000 in the 
Chicago Daily News scenario con- 
test was awarded to Miss Winifred 
Kimball, of Apalachicola, Florida. It 
is the biggest prize ever offered for a 
scenario. 

The contest was open to everybody. 
Nearly 30,000 entered, many profes- 
sional scenarists competing. Miss 
Kimball, an amateur heretofore un- 
known to the screen, wrote "Broken 
Chains," the scenario adjudged best. 

Miss Kimball is an enthusiastic 
student of the Palmer Course and 
Service. Of the Palmer Plan she 
writes: 

"There is something unique in the 
kindly interest that the Palmer institu- 
tion evinces toward its students. I feel 
that much of my success is due to its 
practical instructions. I have advan- 
taged greatly from the fundamental 
wisdom of its criticisms and teachings." 

A second prize of $1,000 was won 
by Mrs. Anna Mezquida, of San Fran- 
cisco, also a Palmer student. Seven 
other students of the Palmer Plan won 
$500 prizes. 

Until the Palmer Photoplay Corpo- 
ration discovered and developed their 
gifts in its nation-wide search for 
screen imagination, these prize winners 
were unknown to the motion picture 
industry. 

That search goes on and on. Through 
a questionnaire test, which reveals 
creative imagination if it exists, more 
hidden talent will yet be uncovered. 
The test is offered free to you in this 
page. 

* * * 

This is the kind of story that needs 
little elaboration. The awards speak 
for themselves. The Chicago Daily 
News put its great influence and re- 
sources behind thj motion picture in- 
dustry, which desperately needs fresh 
imagination for scenarios. Thirty-one 
cash prizes amounting to $30,000 were 
offered. Thirty-thousand professional 
and amateur writers competed. Their 
manuscripts were identified to the 
judges not by author's name, but by 
number. 

The judges among whom were 
David Wark Griffith, the famous pro- 
ducer, Samuel Goldwyn, whose studios 
will produce the first prize scenario, 
Norma Talmadge and Charles Chap- 
lin, screen stars, and Rupert Hughes, 
celebrated author, and scenarist se- 
lected "Broken Chains" as the best of 
the 30,000 scenarios entered. 



To a Southern girl, who lives in a 
little village of 3,000 population, that 
selection meant a check for $10,000, 
and a career. 

To the Palmer Photoplay Corpora- 
tion, the incident is just one more 
gratifying record of a Palmer stu- 
dent's brilliant success. 

A public that makes its own scenarios 

In its issue of April 1, announcing the 
prize winners, the Daily News quoted the 
judges as agreeing that 

" it proves beyond all doubt that the 
American public can supply its own 
art industry, 'the movies,' with plenty 
of impressive plots drawn from real 
life." 

That is the message which the Palmer Photo- 
play Corporation emphasizes in its nation- 
wide search for creative imagination. As 
the accredited agent of the motion picture 
industry for getting the stories without 
which production of motion pictures cannot 
go on. the Palmer organization seeks to en- 
list the country's Imagination for the fas- 
cinating and well paid profession of scenario 
writing. Here, in the inspiring s ory told 
on this page, is proof that Imagination exists 
in unexpected places; evidence that it can 
be inspired to produce, and trained in the 
screen technique, by the Palmer Home 
Course and Service in photoplay writing. 

A free test of your imagination 

Imagination is the indispensable gift of the 
scenarist. It exists in men and women who 
never suspect its presence. The problem of 
the motion picture industry is to discover it, 
and train it to serve the screen. 

By a remarkable questionnaire, the Palmer 
Photoplay Corporation is enabled to test the 
imaginative faculties of any person who will 
send for it and answer its questions. The 
test is free. The results of careful analysis 
by our Examining Board will be given you. 
We shall be frank. If your questionnaire 
indicates that you do not possess the gifts 
required for screen writing, we shall advise 
you to think no more of writing for the 
screen. But if you have those gifts \ve sh:>ll 
accept you, should you so elect, for enroll- 
ment in the Palmer Course and Service. 

The opportunity is immense, the rewards 
are limitless. Will you take this free con- 
fidential test in your own home, and deter- 
mine whether it is worth your while to try 
for the big things as Miss Kimball did? 

The questionnaire will be sent -to you 
promptly and without obligation, if you clip 
the coupon below. Do it now, before you 
forget. 

PALMER PHOTOPLAY Corp. 

Dept. of Education 

124 W. 4th St., Los Angeles, Cal. 

PLEASE send me, without 
cost or obligation on my part, 
your questionnaire. I will 
answer the questions in it and 
return it to you for analysis. 
If I pass the test. I am to 
receive further information 
about your Course and Service. 

Name 




Ind icatc M r. , Mrs., o r Miss 



Address 



T. 9 



Copyright, 1922, Palmer Pliot-oplay Corporation 



AMSTERDAM DOES SOMETHING NEW 



(Continued from page 164) 



colorful ones on either side. England, 
for instance, although not fully repre- 
sented, sent much of the work of Al- 
bert Rutherston, C. Lovat Fraser, Nor- 
man Wilkinson, Paul Nash, Alfred 
Wolmark, Charles Ricketts, Norman 
Macdermott, Edmond Dulac and Paul 
Shelving, the last-named the remark- 
able young scenic artist of the Bir- 
mingham Repertory theatre. In all 
101 workers contributed to the ex- 
hibition. 

Among this enormous grouping of 
drawings and models, I found greatest 
interest in ten scenic designs for 
"Macbeth" by Knut Strom and Rochus 
Gliese. In coloring and in stage com- 
position they provided a far better 
Icey to "Macbeth" than that ill-fated 
attempt of Robert Edmond Jones in 
which Lionel Barrymore appeared two 
seasons ago. And Oskar Strnad of 
Vienna has designed a curious and 
ingenious plan for a theatre with a 
circular auditorium. The stage would 
run half way round this room and the 
seats of the spectators would be 
raised above the level of the stage 
floor. Strnad believes an actor dis- 
pels illusion when an audience sees 
him enter from or disappear by means 
of the stage wings. He would il- 
lumine one portion of his stage at a 
time, then another part, still a third 
or fourth, or throw open the entire 
stage for a spectacle, if necessary. 
These portions would be separated by 
pylons, which, themselves, would be 
hollow, with inner stairways, windows 
and platforms enabling the actor to 
speak at different levels. It is at least 
a new idea in theatre construction. 

In the library assembled in a sep- 
arate room the United States came off 
much better, with books by Brander 
Matthews, David Belasco, Arthur 
Hornblow, E. A. Boyd, Sheldon 
Cheney, Barrett Clark, I. McClintock, 
Kenneth Macgowan, Percy Mackaye, 
Constance Mackaye, H. K. Moder- 
well, George Jean Nathan, Irving 
Pichel, Oliver M. Sayler, Theatre 
Magazine and the Theatre Arts 
Magazine. The catalogue which was 
issued in connection with this library, 
was a valuable review of the work 
of the contemporary theatre. 

The Staatschowburg, the municipal 
theatre of Amsterdam, is in every 
sense a repertory theatre. The play- 
ers appear in the same roles not more 
than a dozen times a season. The bill 
is changed nightly; once a week opera 
is offered with an orchestra of fifty 
musicians. Prices are amazingly low. 
There are "popular" nights and "peo- 
ple's" nights. At the latter the best 
seats may be obtained for 90 cents in 
Dutch money, about 35 cents in our 
currency. A permanent company of 
50 actors is maintained. Everything 
is distinctly utilitarian, even Queen 
Wilhelmina's box in the centre of the 
balcony being frugally appointed in 
contrast to the splendors of the royal 
boxes in the Italian theatres. 

The key to any playhouse lies in its 



stage equipment. The auditorium al- 
ways blazes with lights and Cupids 
in bas-relief sprawl in every corner. 
The stage may be a dreary place. An 
American theatre built in a middle- 
western city last year has a handsome 
auditorium and a stage so tiny that 
it is shaped like a quarter of a pie. 
The architect performed the time- 
honored feat of forgetting the dress- 
ing-rooms until a discerning soul re- 
minded him of his omission. Had he 
visited the Staatschowburg he would 
have found two tiers of long dressing- 
rooms, decorated in bright colors, with 
mirrors, an indirect lighting system 
for the best view of a "makeup" and 
glass doors at one end of the room 
giving on to a long balcony below 
which is a canal thus affording the 
actor a chance to end it all if he fails 
to make good. Many an American 
star would desire the luxurious quar- 
ters of the average Dutch actor. Will- 
iam Royaard's own room is double the 
size of the others, furnished with 
handsome chairs and tables and pro- 
vides a comfortable place between the 
acts. In addition the members of the 
company have a large green-room 
with couches and chairs of wicker. 
Even the members of the ensemble are 
housed comfortably in a large room 
that American choruses well might 
envy. 

The stage is extraordinarily large, 
having a playing space of 18 by 26 
meters. At either side are rooms for 
storing scenery, the sets being painted 
in special ateliers away from the thea- 
tre. The lighting is mostly from 
above with one row of lamps inside 
the top of the proscenium arch, sev- 
eral rows of borders and a series of 
projectors from the top gallery. Side- 
lights in movable stands are also 
used. The cyclorama is of blue can- 
vas, not of plaster. 

"We have too little room," said 
Manager Nolta, who was conducting 
me through the theatre. He may be 
right. Vet I wondered how many 
theatres in the United States have such 
complete equipment. And below the 
stage are three levels for traps, for 
storing mechanical devices, for the 
thousand and one things forgotten in 
the average theatre. "Enough stuff 
here for three Metropolitan opera 
houses," was the comment of my com- 
panion. 

In the evening I witnessed "Een 
Mid-Zomernachtdroom," as "Mid- 
summer Night's Dream," becomes in 
translation. Shakespeare in Dutch ! I , 
might have feared to see it had not 
William Poel, the noted Shakespearian? 
scholar, advised me in London. "Go 
to Amsterdam," he said. "In Holland i 
you will find the best acting in 
Europe." 

Advice was excellent. While I can- 
not echo his opinion as to the acting, 
I found a performance of sincerity 
and of serious intent. Beginning at 
7:30 in the evening, the play was 
(Concluded on page 184) 



[182] 




is there any other material that 
inspires such smart frocks and charm- 
ing decorative arrangements as silk? 

CHENEY BROTHERS 

Fourth Avenue at Eighteenth Street, 7^e 





Cheney Dress Silfc, Velvets, Ribbons, Decorative and 
Upholstery Sil\s, Cravats and Men's Soc\s are obtain- 
able at stores with a reputation for fine merchandise. 



THE RISE OF THE CURTAIN 



Jfjarher's 

''WRAP-AROUND 



NOT A TRACE OF LACING has the 
Warner's Wrap-around just nar- 
row sections of firm elastic alternat- 
ing with brocade that stretch enough 
to let you "wrap.it and snap it" on. 
And when on, the Warner's Wrap- 
around is part of yourself not a 
line showing through the gown. It 
does not stretch into looseness as 
does a solid rubber corset. It holds 
you just as much as you want to be 
held and no more. It's a feather- 
weight, and you're free in it. 



Prices : 



$1.50, $2.00, $3.00, $3.50, 
$4.00, $5.00 and $7.50. 



THE BANDEAU shown in the illustration at 
right is a type designed for ivear with this 
model of Warner's Wrap-around. Its long 
back and front panels stay doiun securely 
over the low top of the JVrap-around. 
Prices: $1.00, $1.50, $2. 00, $2. 50, $3.00 and 
$5.00. 



(Concluded from page 149) 



an all-star cast. Jobyna Rowland 
will be seen shortly in "Greatness," 
a play written especially for her by 
Zoe Akins and another Frohman offer- 
ing will be "Casenova," a colorful 
drama translated from the Spanish of 
Lorenzo Azertis. 

ELSIE FERGUSON'S RETURN 

1Y/TARC KLAW will present M.iss 
Elsie Ferguson in a play which 
seems likely to give that very popular 
:tar a renewed vogue on Broadway. 
For Miss Ferguson's return to the 
management under which she scored 
her greatest successes, Mr. Klaw has 
secured the American rights to "The 
Wheel," which has been a reigning 
London success with Phyllis Neilson 
Terry and Philip Merivale in the 
leading roles. Since the English title 
of the play was used in America by 
Winchell Smith in quite a different 
play, Mr. Klaw will probably call his 
production "The Wheel of Life," since 
the idea of the play is the Buddhist 
lelief that we are all bound to the 
Wheel of Things, which whirls us into 
our own at last. In this play, which 
is by James Fagin, Mr. Klaw believes 
Miss Ferguson will be fitted with a 
character that will prove even more 
attractive to her admirers than her 
unforgettable r6le In "Outcast." After 
having launched Miss Ferguson in the 
new play, Mr. Klaw will probably 
announce an engaging novelty, now 
under consideration, but not yet ready 
for positive heralding. Henry W. 
Savage and Florenz Ziegfeld are still 
lingering in Paris at this writing, and 
their plans must wait their return 
for announcement. Needless to say 
there will be further Follies, and a 
road season for Marilyn Miller and 
for Billie Burke, and a possible 
production of Franz Lehar's long- 
awaited "Blue Maxourka," by Mr. 
Savage. 



TTENRY MILLER will make a num- 
ber of new productions, one of 
which will enlist the services of him- 
self and his brilliant co-star, Blanche 
Bates, while Ruth Chatterton has al- 
ready tried out on the Coast "La 
Tendresse," a play by Bataille, adapted 
by herself, in which she will court 
renewed favor on Broadway later in 
the season. 

FORTY-TWO SCENE THRILLER 

'"PHE Selwyns are offering a program 
" rich in promise and sparkling 
with varied and novel offerings. For 
the first time this intrepid youns 
firm, will enter the field of scenic 
spectacle, presenting as their initial 
venture the Berlin sensation Mein- 
hard-Bernauer melodrama "The Mys- 
terious Affair of Kreisler." It is likely 
that the German title will be cur- 
tailed, but Mr. Edgar Selwyn pledges 
his managerial honor that there will 
be no diminution of the thrills con- 
tained in the mechanical effects of the 
forty-two scenes through which this 
rtory of thrills and mysteries moves 
with all possible pageantry. 

In this play, Frank Reicher, the 
newly acquired stage director of the 
Selwyn firm, will make a bid for 
recognition as a master of effects in 
terror in the field occupied by the 
Reinhardts and Belasco. Jane Cowl 
will be presented this month in a new 
play and Channing Pollock's newest 
opus "The Fool" will bring Richard 
Bennett to the fore as a Selwyn star. 
Plays by A. A. Milne and Clemence 
Dane and Louis N. Parker's adapta- 
tion of Maurice Magre "Harlequin." 
A new play by Martin Brown will 
present Alan Dinehart in the chief 
role and new plays for Florence Reed 
and Mme. Olga Petrova will a4sa en- 
gage the activities of the firm later 
in the season. 




THE TRUTH ABOUT BLAYDS' 



(Concluded from page 160) 



will always be looking for tier. * 
ROYCE: I shall find her. 
ISOBEL: No, it's too late now. 
ROYCE: (Confidently.) I shall find 
her. * * Perhaps it will be on a day 
in April, when the primroses are out. 
Then, a child again, she will laugh for 
joy of the clean, blue morning, and I 
shall find her. And when I have 



found her I shall say* * Thank God, 
you are so like your mother, whom I 
love. 

ISOBEL: No, no, it can't be true. 
ROYCE: It is true. (Holding out his 
hands.) I want you, not her. (She 
puts out her hands to him. He takes 
them and kisses them.) 
CURTAIN 



[184] 



THEATRE MAGAZINE, SEPTEMBER. 1922 




(-/ listening jant)j; glittering Mciety. Gamboling clotted; f rival- 
ing crowd J .... Timoroiu lour'utj with eyej wide open. 
Amorous dueluiU with eyed half open . . . The bored Mil of a 
thike, forgetting h'u boredom. The well-brought up daughter of 
a millionaire, forgetting her brintjiiiij-itp . . . Studied in adorn- 
ment; .tluJiej in unai)ornment. Creatioiu of Parisian moJLttej; 
creations of Olympian goJj .... And, permeating all, that 
eliuwe aura which betokeiu the presence of beautiful women 




I 





PARFUMERIE R1GAUD, 16 Rue dc la falx, Pani, France. GEO. BORGFELDT & CO., Sole Dulnbutan, i6th Street & Irving Place, New Xrk 



[185] 




(Correctly Interpreting 
the <L%Code inCjfiirs 

The Silhouette for the com- 
ing season what form will it 
take? The variations in length, 
in sleeve and in body line 
which Paris decrees for the 
Fur Wrap are ever so slight 
but ever so significant. 
Guided by the dictates of 
fashion, Gunther has created 
many models each enhanced 
by a charming originality. 

Gunther 

fJiftliSfyenue at 36~<$treet 

NEW YORK 
Furriers for More Than a Century 



MR. HORNBLOW GOES TO THE PLAY 



(Continued from page 151) 



and general treatment suggests the 
curtain lowerers at the Grand Guig- 
nol, written by the same Lait who 
conceived "Lilies of the Field" and 
played by the same Suratt. So does 
"Spice of 1922" go. Good, bad and 
indifferent with the good so good as 
to hold and please at times hugely. 

Adele Rowland contributes what 
might be called a "refreshing note" 
to a show that for blueness and un- 
dressedness breaks several records. 
She is wholly delightful in "On a 
Little Side Street in Paree," singing a 
song of the popular variety staged 
skillfully in such a way as to give the 
number more verve than it might ordi- 
narily be expected to achieve. James 
Watts, a burlesque female imperson- 
ator, is enormously funny in a travesty 
on "Tosca," and Jimmy Hussey, an 
addition to the apparently limitless 
supply of Jewish comedians, is an 
unusually entertaining clown. In fact, 
it occurs to me that the thing which 
makes Mr. Lait's show stand out a 
bit is the fact that it possesses a few 
hearty laughs even guffaws of the 



unashamed variety and that's rare 
enough in these days of lots for the 
eye but little for the ear to be creative 
of some appreciation. 



Strut Miss Lizzie 

Produced at the Times Square 
Theatre, June 19th, with the following 
cast: 

Georgette Harve, Lake Sisters, James 
Moore, Alice Brown, Charles Fredericks, 
Hamtree Harrington, Grace Rector, Cora 
(Ireen, Bud Halliday, Joe Henderson, James 
Barrett, Eddie Fields, Willie Tyler, Joe 
.Ionian, Elberta Jones, Carrie Edwards and 
Ethel Taylor. 

ANOTHER show by negro enter- 
tainers, inspired obviously by the 
enormous success of the "Shuffle 
Along" entertainment that has had 
over a year at the 63rd Street Music 
Hall. There is always plenty of fun 
and rag-time and spirit in these darky 
shows and although at no point are 
"Shuffle Along'' standards reached, 
there is still enough in "Strut Miss 
I.i//.ie" to keep one's face smiling 
and one's feet tapping. 




DUSE BREAKS HER SILENCE 



(Continued from page 137) 



suddenly lighted with a smile. 

For there is an intangible air of 
Iriitesse that cannot be dispelled when 
looking at Duse. This hush of sorrow, 
seemed to me to be reflected in the 
quiet of the rooms, the subdued char- 
acter of her two attendants. Everything 
suggested the recognition of the tragic 
spirit which hangs over the great 
artist. 

As we talked, a soft voiced com- 
panion who speaks French and English 
as well as Italian, entered. Her mur- 
mured words were answered by a 
negative motion of Duse's head. 

No one, indeed, is guarded more 
thoroughly from intrusion than Elean- 
ora Duse. Hotels have orders that she 
is not to be disturbed under any cir- 
cumstances. In between engagements, 
for unlike the American system of 
solid booking, she plays when she 
feels like it, she retires to some quiet 
place to rest. 

I mentioned how thoroughly I had 
canvassed Italy to locate her after her 
Trieste engagement. 

"I enjoy solitude" she said, smiling. 

"But when vou come to America 



you will be less retiring, won't you?" 
I questioned. 

"It seems as though I would have 
to," she replied. "You see I know 
America of old but not post-war 
America. But I will be glad to try 
to 'step lively' as you say if I can." 

She smiled, with a trace of amuse- 
ment at the thought. 

The interview was over and she 
extended a hand over which poets 
and artists may well enthuse. 

"A rivederci " she began. 

"In America" I concluded. 

She paused, an impressive figure in 
the flowing blue robes, lighted at the 
throat by white lace. Her sad eyes 
smiled. 

"I must see those young actresses 
what beautiful phenomena America 
offers " she said. 

A lovely appreciation of youth, I 
thought, as I said arivedtrla to this 
great artist who, with the memories 
of her own incomparable career, 
stands eagerly watching, with gener- 
ous enthusiasm, the promises youth 
offers the Art of tomorrow. 



.[186] 



THEATRE MAGAZINE, SEPTEMBER, 1921 




"The Sound 
of Safety!" 




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[187] 



TKADi; MARK 



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Furriers 

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THE ACTOR-PROOF PLAY 

(Continued from page 142) 



"dear old Joe Jefferson," but as he was 
just as dear and nearly as old when 
he failed to please in his own faulty 
version, I think some belated acknowl- 
edgment is due to the memory of 
"dear old Dion Boucicault." 

Despite my respect for the skill of 
the playwright who devises scenes that 
delude the average play-goer, and my 
admiration for the craft and cunning 
of the manager who, with the aid of 
his hand-maiden, the press-agent, 
"puts them across" to quote from the 
lexicon of Broadway I resent the 
whole scheme of deception. Not only 
does it fool a credulous public and 
an equally credulous press but it 
creates false standards of acting, gives 
undue prominence to players who have 
not fairly earned it and obscures in 
merciless fashion the talents of others. 
But to the star whom a manager is 
trying to make famous by artificial 
means such a scene is a source of 
nightly joy for, skillfully handled, it 
seldom fails to yield a generous har- 
vest of undeserved newspaper puff- 
ery. It lends itself, moreover, to the 
development of the tricks of acting, 
such as keeping the rest of the com- 
pany below the key in order to 
heighten the effect of the "great mo- 
ment" in which the player's voice is 



to be lifted to its limit. I have even 
known an actress to play the preced- 
ing scenes with lassitude in order, as 
her press agent had the effrontery to 
declare, to "save herself for her great 
moment." 

To realize the absurdity of this 
method of interpreting real life we 
have only to imagine a young woman 
yawning through a pleasant afternoon 
so as to save herself for the expected 
moment when someone will come in 
and tell her that her sweetheart has 
eloped with another girl. 

The young and inexperienced critic 
is as much impressed by the scene and 
the applause that follows as the veri- 
est layman and accords to it the hearty 
praise of his naive pen. These enco- 
miums are reprinted in the advertising 
matter and as his name is reprinted 
with them he is, to a certain extent, 
committed to the star's support. 

More than once of late this crafty 
method of "grooming" a young woman 
for stellar honors has been employed 
with the result that she came to de- 
pend on an actor-proof scene as an 
addict depends on drugs. That the 
play-going public is seldom deceived 
by such tricks is indicated by the fact 
that few of those subjected to the proc- 
ess last beyond their second season. 



THE PROMENADES OF ANGELINA 

(Continued from page 180) 



bowl and the teapot lid, whose hinge 
a further touch of practicality was 
placed at the side instead of the usual 
back. Peche's fancy, it seems, is at 
home in any medium. . On the table 
beside the tea-set was a "trick" of 
his designing . . a small animal of 
gay silks . . of a fauna never seen 
on land or sea, but ensnaring withal. . 
On the wall above were wonderful 
laces, also by him. . 

Another name one should know in 
connection with the Wiener Werk- 



staette is that of Josef Hofmann. . 
Rather strange there should be two 
such well-known artists of the same 
name, not so? . . This Josef Hof- 
mann is probably the most significant 
personality in the "young Vienna" 
group . . "He is the one," says Mrs. 
Moore, "from whom comes most of 
the artistic inspiration, as well as 
most of the organizing." I remember 
particularly his tall silver vases for 
flowers . . and some delicious deep 
porcelain bowls in gay colors. 




Novel to most of us over here are these deep 
goblets painted with small figures and called 
"X-glasses." Being without a base on which to 
stand necessitate! thai their contents be drained 
at a single draught. For a shorter quaff there 
are other glasses also decorated in a similar 
manner with gay paints 



[188] 



THEATRE MAGAZINE, SEPTEMBER, 1922 










Exclusive Artists 

JVumberJVlneofa Series 




THEO KARLE 

TENOR 

T TNIVERSAL has been the approbation of Theo Karle's exceptional voice it is characterized by 
*-^ such rare power and delicacy of tone that he has been termed by noted critics one of the great- 
est American tenors of the day. In common with the present tendency among artists, he records 
exclusively for Brunswick. 

Brunswick Records Play On Any Phonograph 



[189] 



The Serious Side of Sunburn 

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Freckles and tan are not becoming, and it is conceded that a 
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much graver evils. 

The real danger of sunburn is that it ages you! 

Once the sun is allowed to dry away the skin's sapfulness 
Nature's preservative your face is left weatherbeaten, harsh, 
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of wind. If you are young, it is difficult to realize this if you 
are not, it is distressing but it is true! 

Helena Rubinstein 

The famous Beauty Specialist of London, Paris and 
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Fabiano de Paris 

Noted Young French Portraitist to Sketch America's Stage 
for Theatre Magazine 



TO us long little else than a name, 
seen in vagrant copies of Le Rlre 
or La fie Parisienne, Fabien Fabiano 
is now in America with his crayons 
and brushes, prepared to repeat in this 
country the enormous vogue he has 
enjoyed in Europe. There are few 
theatres of the chic variety in Paris 
whose stages have not been decorated 
by the sly, gay patterns and designs 
that come lightly from the hand of the 
man who stands out as perhaps fore- 



artistic value whose pages have not, 
during the past few years, been 
decorated by products signed F. 
Fabiano. In this country M. Fabiano 
will continue his portraits of women 
and Theatre Magazine will offer sev- 
eral to its readers, beginning with this 
issue. In the series to be so offered 
it is planned to include a number of 
popular stars whose personality is 
peculiarly suited to the piquant 
Fabiano style. 




FABIEN FABIANO 



most in the field of what may be 
known as typical Parisienne art. 

Americans who have found delight 
at the Theatre du Capucines or the 
Michel or the Ba-Ta-Clan have 
usually unknowingly been carried into 
their feeling of admiration for the 
mise en scene by the Fabiano decors 
and costumes. But of even more 
importance, perhaps, in the world of 
art are the exquisite and elegant por- 
traits of lovely women that have been 
a principal part of his work and have 
gained for him the major part of his 
reputation. There is scarcely a Con- 
tinental periodical of distinction and 



The artist works equally well in 
pastel or in oil and it is possible that 
before long, in order to procure the 
full color value of his work, one or 
more of his portraits will be repro- 
duced on our covers. 

In Paris Fabiano has done portraits 
of such noted artistes as Spinelli, 
Edmee Favart and Jane Renouardt, 
and his work has appeared constantly 
in Femina, Fantasia, Le Rire, La Vie 
Parisienne and other smart European 
reviews. His American work, as well 
as many of his European products, 
will be exhibited before long in a 
noted Fifth Avenue gallery. 



CAPTAIN POLLOCK 



(Continued from page 154) 



that lunacy. Inseparable in our con- 
sideration will be Mr. Pollock and 
Miss Clemence Dane's play, "A Bill 
of Divorcement." 

They made a record among the best 
achievements of least season. Then, 
startlingly, came the news that the 
tall, lank man who had stirred our 
tears would produce a comedy and 
himself turn comedian. He produced 
successfully "A Pinch Hitter," himself 
playing a comedy role and giving his 
friend, Charles Waldron, long asso- 
ciated with lover roles of lachrymose 
order kind, a fun creating character. 

"You saw the play? You like it? 
I am glad. It was no definite ambi- 
tion of mine to be an actor-manager. 
I read the little play and liked it. At 



all events one should vary his work. 
Don't you think so?" 

He shifted one of his long legs over 
a jutting knee. "I love the circus 
part of the theatre," he was saying. 
"That comes down to me from Perth 
days, perhaps. I like the scene shift- 
ing, the rehearsals, the accidents, the 
profanity, the uncertainty. I don't 
come into the theatre saying that Mrs. 
Toplofty asked me to tea and I drop- 
ped in. That is rot. I haven't been 
having tea with Mrs. Toplofty. I've 
been shouting my lines at some un- 
offending wall, or talking about a 
play with some author in whose efforts 
I am as much interested as he is. I 
am a trooper. That's what I am. 
And all I am. And all I want to be." 



L190] 



THEATRE MAGAZINE, SEPTEMBER, W22 




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[191] 



A UTUMN has triumphed more 
** brilliantly than ever before in the 



gorgeous gowns 
of Sheridan. 



The new silhouette finds itself delightful in this three pirn 
sui- of B' own Kasha Cloth, whose bodiie (not s'.own) is 
of brocaded Metal Cloth. The smart trottet,r jacket 
has a Mole-trimmed Militaire co.'hr, caught with silver 
bells. All the new Fall Colorings. 



GOWNS 

Afternoon 




GAMBODGIEN BALLET IS PARISIAN 
SENSATION 



FROM "Gargoyle" that excellent 
little magazine made by Ameri- 
cans in Paris we learn of the latest 
fad in Paris the visit of the private 
ballet of the King of Cambodia (who 
has a geography!) to the city on the 
Seine. News of the sensation has 
filtered in but it remains for "Gar- 
goyle" to present a comprehensible 
critique of what these unusual dancers 
do and how they do it. 

Says "Gargoyle": 

"The most significant event of the 
season at the Opera was the visit of 
the Cambodgien Ballet, an event we 
owe to this year's Colonial Exposition 
at Marseilles. The dancers were ac- 
companied by a group of players from 
the Annamite Theatre, and these lat- 
ter preluded the Ballet numbers with 
an elaborate dance step and a pan- 
tomine scene interrupted at intervals 
by chanting. The costume colouring 
was full of brilliant contrasts, the 
accessories symbolic as well as decora- 
tive. The figures executed were full 
of repetitions introducing shades of 
difference; their stage alignment and 
grouping always a little asymmetrical 
to our eyes. The chanting was done 
in a high penetrating tone of extraor- 
dinary carrying power. The musical 
accompaniment consisted entirely of 
changing rhythms marked by drum 
and cymbals. The Cambodgien 
dancers opened their program with an 
imposing entrance upon an upper plat- 
form; costumes of jewels and gold and 
a row of gleaming banners. From 
this a group of maidens descended 
to perform the Dance of Good Wishes, 
carrying flowers of silver and gold. 
There followed a short duet scene in 
the manner of realistic pantomine rep- 
resenting the abduction of a tiny ex- 
quisite siren by the King of the White 
Monkeys with imitative costume and 
mask, and equally imitative dance 
steps. The complete ballet of the 
program concerned the story of a 
princess' dream, the prince with a 
magic wand who could fulfill her 
dream, their adventures and ultimate 
happiness. Much of the individual 



dancing was done in a sitting posture 
upon a central divan. The entire ac- 
tion was accompanied by an orchestra 
placed at one side of the stage and 
consisting of two xylophones, a pipe, 
and some small drums, one of them 
beaten entirely with the hands. This 
combination of instruments produced 
the most glorius syncopated music I 
have ever heard: brilliant tinkling 
arrested melodies playing above a 
fundamental rhythmic pattern. At the 
opposite side of the stage was the 
choir, following the action with choral 
parts sometimes reinforced by a 
rhythmic beating of time, and intro- 
ducing solo parts to represent the ex- 
pression of certain individuals in the 
ballet. This solo singing in particular 
was of extraordinary timbre and de- 
licacy, following a system with much 
smaller intervals than those of the 
diatonic scale. The dancing of the 
Cambodgien ballet girls is obviously 
surcharged with ritual, symbolic, his- 
torical, and local meaning, only faint 
glimpses of which are visible to me. 
Their technique makes demands quite 
different from those of the occidental 
dance. The knees are usually bent, 
the feet turned back, the toes upward ; 
the trunk, arms, and hands, even the 
individual fingers are used with amaz- 
ing skill and complexity of movement. 
The pantomine, as in the scene of 
seduction, is a complicated design of 
exceeding subtlety, detached and con- 
ventionalized to the last degree, the 
faces remaining as passive as masks. 
The only element which breaks this 
detachment is the sudden emission of 
curious small cries a strange anomaly 
which I do not know how to recon- 
cile with the age-long conventionaliza- 
tion manifested by their action in gen- 
eral. After this ballet the Cambod- 
giens and Annamites joined in a 
general closing spectacle: the greens, 
pinks, blues, and browns of the Anna- 
mites with their banners filling the 
stage, and the gold and gems of the 
Cambodgiens backing them on the 
platform above. As spectacle, as 
music, as dancing, the whole perform- 
ance was unforgettable." 



NEW VICTOR RECORDS 



Lucrezia Bori's English accent is her 
very own. Unless you have h<-ard 
it, you can't guess how delightfully 
piquant it is. However, you may hear 
it on your Victrola for the first time 
during August, for her mo<t recent 
record is her first in English. The 
song, appropriately enough, is one of 
Thomas Moore's "When Love It 
Kind" dealing lightly with such a 
serious subject. Musically this record 
is a delicately chiselled cameo, leaping 



a light octave at the climax like the 
last flashing kick of a toe-dancer. 

The peace and fragrance of some 
old-world garden are in a charming 
new record by Emilio De Gogorza on 
the August lists. "/ Knovo a Lovely 
Garden" is one of Mme. Guy D' Har- 
delot's simplest and finest, free from 
false sentiment, and sung with the 
easy finish and human sympathy of 
the true artist. 



[192] 



THEATRK MAGAZINE, SEPT KM HER, 1922 



The pestle LANOIL Wave 

A New "Permanent" Without Borax, Paper Tubes, or Pads 
Heat Reduced by about 75% 



Hairdressers o 



York Hold ^fCass -J&eeting, and Acclaim 



'Discovery 



THE unceasing efforts of Mr. C. Nestle, original in- 
ventor of permanent waving, have at last shown results. 
The Permanent Wave has become safe. Borax and 
great heat have been done away with. Permanent Waving 
has also become perfectly comfortable. But what is 
even more important it now leaves the hair 
as it was before, except to impart to it the 
coveted natural curliness. 

All this has been brought about by 
the discovery of a new hair-soften- 
ing substance, gentler and more 
effective than the great heat 
and borax vapors, employed 
for permanent waving until 
now. The newly-discovered 
waving composition is 
called LANOIL iNo. 10. 
It is germicidal and non- 
poisonous. It acts on 
human hair as gently as 
water acts on paper. It 
just softens it, without 
attacking the structure 
in any way. It requires 
so little heat that some 
people simply won't believe 
that it can produce the re- 
sults desired. 



ACTUAL HEATING TIME 
FOR THE LANOIL WAVE 
IS ONLY FOUR MINUTES 




It is only when you explain to lay 
minds that a stone-hard piece of chalk 
can be immediately softened by a few 
drops of oil, without any heat at all, 
and can be made hard again without 
any heat whatever, that you can con- 
vince them of the possibilities of 

LANOIL. Chemists marvel at it. Ladies who have had the 
new LANOIL Wave are full of praise for it. Mothers take 
confidence again, and bring their children. New York has 
had more than twice the number of permanent LANOIL 
Waves this summer as it had any previous year. Men 
especially seem to take a fancy to the LANOIL Wave. Not 
for themselves, to be sure, but they like its soft, rich appear- 
ance on their women folks. 

REFUSE IMITATIONS IN THE FORM OF 
SO-CALLED "OIL-WAVES" 

No sooner had Mr. Nestle announced the discovery of the 
LANOIL Process than the usual host of imitators immedi- 



ately announced "Oil-waves" or waves by their various 
"Oil Methods." 

Human hair cannot be waved by oil. Oil would first fry, 
and then burn the hair to cinders, before it could wave, not 
only because the heat of oil has no limit other than 
the heater applied (which is much too hot 
for human hair) but also because oil does 
not even soften the hair for this pur- 
pose. To arrive at the composition 
of LANOIL No. 10, large amounts 
of money and severr.l years' 
experimental work were given 
to this vast subject, and this, 
not by a young beginner, 
but by the same man who 
discovered the original 
permanent waving prin- 
ciple, seventeen years 
ago. 

BUT WHY LANOIL 
IF NOT AN OIL? 



Because LANOIL means 
a whole process of perma- 
nent waving with a new 
principle. It means a series 
of things. We use LANOIL 
No. jo, which is neither an oil 
nor a fat, to soften the hair struc- 
ture, and either LANOIL No. 1 1 
or 12, which contain oil or fat, as a 
finishing compound, before the hair is 
actually cold. These fats are readily 
taken up by the hair structure, and 
give it much natural richness and 
gloss. 

WHERE THE LANOIL WAVE 
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The best reproduction of naturally 
curly hair ever made 

Waved by the LANOIL process 



Most hairdressers who have the welfare of their patrons' hair 
at heart, and who are sufficiently acquainted with the new 
Nestle discovery, have taken steps to introduce this pro- 
cess in their establishments, and over 250 hairdressers in the 
United States alone have actually done so. 

We will send you a list of those in your vicinity, on 
request. 

If you find none in your neighborhood, or within reaching 
distance, write for particulars of the Nestle LANOIL Wave 
Home Outfit, price $15, which contains everything for a 
home-wave. 

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[193] 




IMPORTANT! 

Theatre Managers need not delay 
Fall openings of new theatres for 
lack of proper seating if they will 
take advantage of our large capao 
ity and place their orders now, 
No theatre opening has ever been 
delayed through lack of prompt 
action on our part. 

To managers who are redecorat- 
ing and refurnishing established 
theatres, we suggest consideration 
of new chairs in keeping with 
other improvements. Upholster- 
ed chairs can be manufactured by 
us while house is being decorated 
or new drapes made. 

We have the organization and 
facilities to handle a large volume 
in a limited time without impair- 
ing our standard of high quality. 

Prices at pre-war levels 




NEW YORK 
117 W. 40th Street 

BOSTON 
79-D Canal Street 



CHICAGO 
18 E Jackson Blvd. 

PHILADELPHIA 
707-250 S. Broad Street 



CHAUTAUQUA SYSTEM TO BRING 
DRAMA INTO PROVINCES 



PERHAPS one of the most unique 
opportunities for known and un- 
known dramatists to present to an 
audience not satiated by theatre-going 
is being made possible by the Swarth- 
more Chautauqua Association, of 
Swarthmore, Pa. 

This group aims to reverse the 
method now prevalent of sending the 
Broadway success to "Main Street." 
Their intention is to present to the 
people of the small cities and towns 
the best work of American play- 
wrights without first running the 
gauntlet of the commercial stage. 

The combined Chautauqua forces of 
the country have invited the play- 
wrights and authors of the United 
States to participate in a prize com- 
petition for the best comedy of Ameri- 
can life. A board to select the win- 
ning piece has been named, consisting 
of: 
WINTHROP AMES, New York theatrical 

director. 

GEORGE P. BAKER, Professor of English 
and Dean of the School of Dramatic 
Art, at Harvard University. 
THEODOXE BALLOU HINCKLEY, Chicago 
editor of The Drama, official organ 
of the Dramatic League of America. 
CHARLES F. HO*NER, of Kansas City, 
Mo., director of the Redpath-Horner 
Chautauquas. 

SAM HUME, of the University of Cali- 
fornia, Berkley, Cal., director of the 
Greek Theatre and of the Theatre 
Guild of San Francisco. 
PAUL M. PEARSON, Swarthmore, Pa., 
President of the International Ly- 
ceum-Chautauqua Association. 
GREGORY ZILBOORG, the Russian dra- 
matist, and translator of "He Who 
Gets Slapped." 

The Chautauqua leaders ask for 
typical American comedy, not to ex- 
ceed more than two hours playing 
time, and provide for not more than 
ten characters. One-act plays may be 
submitted and accepted on a basis 
that may be mutually agreed upon. 
The intention is to produce these prize 
plays as star attractions on Chau- 
tauqua circuits throughout the country 
in 1923. The competition closes Dec. 
1, 1922. 

Fifty-one million admissions to 



Chautauqua were paid during 1921, 
representing, it is estimated, 10,000,000 
individual attendants. 9,000 towns 
and cities in the United States have 
regular Chautauqua seasons. In 
former years the Chautauqua programs 
consisted chiefly of lectures and 
musical talent features, but this sum- 
mer there are more than forty thea- 
trical companies on Chautauqua cir- 
cuits offering to people in smaller 
communities plays hitherto played only 
in the largest cities. Some of the 
well-known pieces at present appear- 
ing on Chautauqua programs are: 
"Turn to the Right," "Friendly 
Enemies," "It Pays to Advertise," 
"Polly of the Circus," and "Nothing 
But the Truth." 

Mr. Paul M. Pearson, of Swarth- 
more, Pa., to whom manuscripts and 
correspondence concerned with the 
Chautauqua competition are to be ad- 
dressed, says: 

"We start with the general proposi- 
tion that Chautauqua is important 
enough to have drama of its own, be- 
cause of the peculiarly distinctive 
place it has achieved in the scheme 
of American daily life. Chautauqua 
constituents are largely of a church- 
going element. The drama originated 
with the church. Until the time of the 
puritan revolution it was dominated 
by the church. Thence forward it be- 
came a commercial institution. Ours 
is an endeavor to get the drama back 
to its pristine uses, possibilities and 
power. We think Chautauqua, with 
its direct contact with the plain peo- 
ple, is the natural indeed the only 
medium for effecting that purpose." 

The author of each play approved 
by the Drama Board will receive $300. 
The $300 is to cover the privilege of 
rehearsing the play. Adapted plays 
will not be accepted. Manuscripts 
submitted must be the absolute prop- 
erty of the author and not subject to 
any coypright or other claim by an- 
other party. The author will receive 
a five per cent, royalty. It is guar- 
anteed that the royalty will not be 
less than $3,000. The play remains 
the property of the author, but may 
not be produced elsewhere than on 
Chautauqua circuits until August, 1924. 



NEW BRUNSWICK RECORDS 



The limpid purity of Irene Williams' 
charming soprano is admirably suited 
to I.andon Ronald's song, "Down In 
The Forest," which Miss Williams 
has sung for the September Bruns- 
wick List. 

"My Wild Irish Rose," the Chauncey 
Olcott favorite, takes on a new depth 
of meaning as played with the ex- 
quisite tone color of Fredric Fradkin. 
the violinist who is now Concert 
Master of the Capitol Theatre Or- 
chestra and a frequent soloist. 

One of these luscious summer nis-'"S 



and a dance 'neath the moon to the 
bewitched rhythms of the "Barcarolle" 
from "Hoffman!" A Fox Trot no less, 
jazzed by Bennie Krueger's Bruns- 
wick Syncopators with a weird counter 
melody on the seductive saxophone 
played by the inimitable Bennie him- 
self. 

Gene Rodemich's Orchestra plays 
" 'Neath The South Sea Moon," Fox 
Trot introducing "My Rambler Rose" 
from the "Ziegfeld Follies of 1922," 
with "It's Up To You" (J'en Ai 
\farre!), the new Maurice Yvain hit, 
on the reverse. 



[194] 



THEATRE MAGAZINE, SEPTEMBER, 19 



=5)f A Sample Tube 

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Long in use professionally, and by 
prescription, this rare preparation is 
now for the first time obtainable at 
toilet goods counters, or by mail, under 
the trade mark name of Vanitine. 

Vanitine is purely a toilet article. 
And must not therefore, be confused 
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The function of Vanitine is to cleanse 
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[195] 




IN the appealing beauty of the exquisitely designed 
Whiting & Davis Mesh Bag which Miss fiolet 
firming displays so attractively, may be glimpsed a 
reason for the favor which these bags have found 
with feminine stars of stage and screen. An ap- 
proval which has had much to do with winning for 
Whiting & Davis Mesh Bags acceptance by well 
dressed women everywhere. The mesh bag is correct.' 
Your assurance of quality is guaranteed by 
thr Whiting & Davis trade mark and tag 

WHITING & DAVIS COMPANY 
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SOAP 



By ANNE ARCHBALD 




IF you want a novel touch for a tea party, here's a suggestion! It concerns 
the tea itself, which it seems to us is, as a rule, the most neglected part of 
the party . . the stepchild . . the "Hamlet left out." 

The suggestion came by way of Belle Bennett. A nice name, isn't it? 
And two other words beginning with a "b" belong in the combination, 
"beauteous" and "blonde." Miss Bennett has been beautifully obliging this 
spring and summer also. She has stayed in town and substituted for two stars 
who wanted to dash to Europe. First for Hazel Dawn in "The Demi-Virgin" 
and then for Margaret Lawrence in "Lawful Larceny." Now she is going to 
appear in her "own private" play under the Woods management. 

Being in town, Miss Bennett gave a "small and early" tea for a few of us 
one afternoon at her apartment. We're not going into the details of the 
latter sufficient to say it was expectedly charming and cool with chintzes and 
Mowers, an entirely harmonious background for blonde graciouness be-ause 
we wish to concentrate on the tea. Everyone was concentrating on the tea that 
afternoon. It was a golden amber color and the flavor was the most delicious 
and unusual imaginable. You noticed it at once. . It seemed particularly 
vivifying, too. There was iced tea for those who wished it. And hot tea with 
lemon or cream for those who preferred it that way. But the chorus of praise 
was universal. 

"Isn't this wonderful tea!" "Did you ever in your life taste such delicious 
tea!" And finally from someone, "Belle dear, do tell us where you got your 
tea. Is it the tea itself, or the way it's made? It's marvellous!" 

Miss Bennett laughed and said, "You may well say so. I don't want to 
boast . . though I suppose I may, after all, since it was a present . . but it's 
the most expensive tea grown. Not because I say so . . but it really is. . 
The Minister of Agriculture has given it his guarantee for quality, and so has 
the Chinese Government . . with a written endorsement. For centuries this 
tea has been reserved for the wealthy and noble families of China, and now 
for the first time anyone who has the price may have it." 

"And the name?" we asked. 

"Ming Cha." said Miss Bennett. "I was nearly forgetting. 'Ming' denotes 
superlative in Chinese, so 'Ming Cha' means 'superlative tea.' " 

It was . . undoubtedly . . and very much something to know about. 




A new smart foliling chair of 

bent wood, stable and comfortable, 

that folds up into the smallest 

possible space 

Miss Bennett had another novelty in her apartment that interested us . . 
a new kind of folding chair. . At the end of the afternoon she made ready to 
depart for the theatre and we to go with her. But four of the guests stayed, 
discussing the prospect of a game of bridge . . and Miss Bennett suggested 
why not make use of the apartment. Then she called the maid to bring a card 
table, and these smart little folding chairs . . of bent wood. They were com- 
fortable and perfectly stead} . . not a bit wobbly . . and yet so flat when 
folded up that six of them could be stacked away in the closet or a corner in 
about eight inches of space. Very much something to know about also. . 
(Because of the limited quantity of Ming Cha. its sale has been restricted to 
only very high-grade shops. For the names of these shops, and that of the new 
folding chair, write The Vanity Box, The Theatre Magazine, 6 East 39th 
Street, New York.) 



[196] 



THEATRE MAGAZINE, SEPTEMBER, 7922 




mining 



Viola Dana, Beautiful Metro Star 

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HOW YOU CAN GET THIS STAND FREE 

/* 'OU, as a reader, are best qualified to introduce The Theatre 
^?^ Magazine to those not now subscribers. To show our appre- 
ciation of your doing so, we are offering to Theatre Magazine readers 
this unique smokers' stand, valued at $10.00. Secure from three of 
your acquaintances, a year's subscription and collect $4.00 from each, 
forwarding to us the orders and money with the address to which you 
wish the "Butler" sent. It will be shipped at once, all charges pre- 
paid (not including foreign custom duties.) 



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[197] 



Amateur Exchange 



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Attention ! 

Theatre Magazine 1922 
Title Pages Vols. 35 and 
36 will be ready February, 
1923. 




"How the elusive perfume of Lablacne 
takes me back! Grandmother 'slightly 
powdered cheek Mother's dimpled 
chin and home." 50 years of dainty 
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Community Dramatic Activities 



(Continued from page 172) 



Community Service, Miss Genevieve 
Forsberg had entire charge of the 
work of organization. 

As an educational and artistic de- 
monstration the Towanda Pageant 
went far beyond the actual presenta- 
tion as the various exhibits in the 
local store windows of historic gar- 
ments, utensils, and old agricultural 
implements created a vast amount of 
interest and discussion, the looking up 
of historic records, books and places 
usually forgotten in the rush of the 
present day. The daily articles in 
Towanda's newspaper also served to 
arouse widespread interest and en- 
thusiasm thru Bradford County and 
on the Pageant Day, helped bring in 
the crowds. The pageant written and 
prepared in two weeks, by Mrs. 
Hanley, was a historic review of 
Towanda. Commencing with the 
early Indian life, the first purchase 
of Towanda land, it passes on thru 
the Promotion or Pioneer stage to 
early settlement period and the de- 
velopment period, closing with the 
March of Progress. The prologue 
was given by Hon. A. C. Fanning. 

Said Elizabeth Hanley: "The entire 
pageant was a demonstration of what 
a community can do for itself with 
very simple organization, slight effort 
and little direction. It was an ex- 
hibition in all lines of the talent, 
facilities and abilities of the Towan- 
da people. It was an example of the 
force co-operation can be in commu- 
nity events." 

Elizabeth H. Hanley has been work- 
ing as dramatic leader throughout a 
number of Pennsylvania communities 
during the past season. In Georgia, 
the Carolinas, New York, and many 
other sections of the United States, 
Mrs. Hanley has done effective work. 
She is a Southern woman, a graduate 
of St. Vincent's Academy of Savan- 
nah, Ga. She has supplemented her 
school and college work by special 
post-graduate courses in New York, 
London and Paris with celebrated 
teachers of drama and stagecraft. 
Mrs. Hanley has written a number of 
stories, plays, pageants and special 
holiday celebrations, many of which 
are circulating today through Com- 
munity Service in all parts of the 
country. 

/^AN anyone keep up with the Little 

Theatre movement? According 

to Susan Stubbs Glover, "The growth 

of the Little Theatre movement has 



been so rapid within the past several 
years and so active this season that 
in addition to its artistic value a 
theatrical commercial field has de- 
veloped in the form of special Little 
Theatre departments in scenic studios 
both here and Chicago. There are 
between 300 and 400 Little Theatre 
groups, with New York having 50 
or more and Chicago nearly as many. 
So widespread is the movement that 
it parallels the stock field in the pos- 
sibilities of developing professional 
players of a better grade. In that 
the movement is probably more im- 
portant professionally than the busi- 
ness opportunity." 

For the past three or four years 
Mrs. Glover, who is an Alabama girl, 
was connected with the Drama 
League work in its extension of Little 
Theatre projects in many sections of 
the United States. This season she 
is making her headquarters in New 
York where she is in charge of the 
Little Theatre work of a well-known 
scenic studio, supplying directors 
when there is a call, properties, stage 
sets and sometimes players. Mrs. 
Glover has evolved a stage set adapt- 
ed after a set designed by Gordon 
Craig. This is made along classic 
lines, constructed of folding screens 
which are collapsible and easy to 
shift. It is easily lighted and so 
planned that additions can be readily 
built to it. E. H. Sothern used the 
same type of setting last season. 
Though effective, its simplicity per- 
mits the transportation of settings for 
the entire Sothern and Marlowe re- 
pertory in about half the space neces- 
sary heretofore. Mrs. Glover's set 
is, of course, adapted for the Little 
Theatre in such places where neither 
time nor opportunity has been given 
the amateur players to create their 
own sets. 

rpHE Harris Randall Drama Camp 
at Columbia Lake, Columbia, 
Conn., was opened this summer by 
May Pashley Harris, whose work in 
Community Service dramatics is so 
well known, and by Grace E. Randall. 
This Drama Institute in summer 
camp, especially for amateurs and for 
directors of Drama proved all the 
pleasure of a season out-of-doors 
boating, bathing and fishing with 
intensive workshop training in prin- 
ciples and methods of play producing 
adapted to the needs of the amateur 
stage. 




Charles 

oftheRTTZ 

International Beauty Specialist 

Makes public one of his beauty secrets 

in the form of a snow-white cream, 
which immediately and harmlessly 

CHECKS PERSPIRATION 




Has been acknowledged by millions of 
users abroad as a most effective perspira- 
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Price SOc. per tube 

Sufficient for several months' use 

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PRESS CLIPPINGS 



HENRY ROMEIKE, INC. 

106 Seventh Ave. New York 

PHONE CHELSEA 8860 



Tell Your Boy About 
This! 

Boys, you can earn money 
each month selling THE BOYS' 
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sell and you get full credit for 
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Address 

THE SCOTT F. REDFIELD Co., INC., 
7244 Main Street, 
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When You 
Plan 



a trip to New York, write or 
telephone for suggestions and 
advice concerning plays and 
concerts, and where the best 
seats may be secured unusual 
places to dine and dance the 
smart beauty shops where you 
may be transformed and re- 
freshed after your journey the 
shops where the choicest blooms 
and sweets may be found. All 
these and many more useful bits 
of information will be added 
unto you 

if you consult 

The'Tlay Guide" 



[200] 



RIVERSIDE PRESS. NEW YORK 



OCTOBER 1922 



MAGAZINE 



TITLE REG U.S PAT.OFF. 




In this issue 




COFYRIGHT 1922 BY THI THEATRE MAGAZINE CO. TRADE MARK REG. U. S. fAT. OFF. 



r 






C^tiss Helen Henderson 
in " Sally " 



*& "' 



c Ghf following are the 

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Why shouldn't they be "The World's SMost beautiful Silks?" 



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H. R. MALLINSON & COMPANY, Inc. 
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Theatre Magaime 
October, 1922 



THEATBE MAGAZINE 13 published on the fifteenth of each month by Theatre Magazine Company, 6 East 
39th Street, New York. SUBSCRIPTIONS $4.00 a year irt 'advance. Yearly Indexes 25c. Entered 
as second-class matter August 3, 1917, at the Post Office, N. Y., under the act of March 8, 1879. 



Vol. No. 36, No. 4 
Whole No. 25 





pervading the World of Fashion as 

well a the World of Natare, imparts 
to both a beaunty and opulence thaft 

belong to no other season of 1lh<i L year 



Amd ie ttlbSs great Store, filled as If 
is to overflowing with treasure gar- 

^^ t? 

nered from every habitable quaarter 

V -11 

of the globe, tlie Spirit of Autumn 

o ' X 

manifests itself with especial grace 
in those bmsy Departments whose 

r 

particelar function is the fashionable 

ouitfitting of Women. Misses and the 

o " 

Youinger Set 




B. ALTMAN 

Fifth Avenue - Madison Avenue 

Thirty-fourth Street Thirty-fifth Street 



F2021 



THEATRE MAGAZINE, OCTOHtA," JMf 



The 
Charming Caprices 

of Youth 



HE advanced, early 
Winter "House of 
Youth" creations 
are now presented. 
Of a luxury, a 
a distinction, in 



smartness, 
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Exquisite creations, exquisite- 
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merely one's state of mind! 

See the three "House of 
Youth" styles illustrated here, 
as well as many others, in the 
best shop in your town. If 
you meet with any difficulty, 
please write to us. 



THE HOUSE OF YOUTH 

38 EAST 29TH STREET, NEW YORK 
3 AVENUE DE L'OPERA, PARIS 



SUCCESS IN DRESS The House 
of Youth has issued a splendid 
Fashion Brochure, showing some 
of our most noted actresses ap- 
pearing at their best in House 
of Youth Fashions. Ask for a 
copy at the Store representing us 
in your town. If unobtainable, 
please write to us. 



This label identifies 




"House of Youth'' -Fashion* 



[203] 



B. F. Keith'* 




The Million Dollar Theatre 

BROADWAY AND 47th ST. 

NEW YORK 

THE LEADING 

VAUDEVILLE 

HOUSE OF THE WORLD 

AND PREMIER 

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Those who love distinction 
and luxury will find the ap- 
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completely to their liking. 
In the bills presented there's 
a dash of everything worth 
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best that the Operatic, Dra- 
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DAILY MATINEES, 25c, 50c, 
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EVENINGS, 2Sc, SOc, 75c, 
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David Belasco presents 

LENORE ULRIC as KIKI 



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iiiiiiiiiiimiiiiiiiiiiimiiiiiiiiiimiimimiiiiiiii 



Plays That Continue on Broadway 

As We Go to Press 



Drama 

Cat and the Canary, The 
Goldfish, The 
Hairy Ape, The 
He Who Gets Slapped 
Truth About Blayds, The 



Daffydill 

Gingham Girl, The 

Fools Errant 

I Will If You Will 

It's a Bey! 



Comedy 

Ahe's Irish Rose 
Captain Applejack 
Chanve Souris 
Dover Road, The 
Kempy 
Kiki 
Partners Again 

New Plays 

Lights Out 
Manhattan 
Monster, The 
Old Soak 



[204] 



Musical 

Music Box Revue, 
Spice of 1922 
Ziegfeld Follies of 1922 



The 



Serpent's Tooth, The 
Shore Leave 
So, This Is London! 
George White's Scandals 
Whispering Wires 
Woman Who Laughed, The 



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Where to Dine 




THEATRE MAGAZIHE, OCTOBER, U 



Les Parfums 
de 





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FIFTH AVENUE AT 3 6th STREET 
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[206] 



VOL. XXXVI. No. 259 



THEATRE MAGAZINE 



OCTOBER, 1972 




CONTENTS FOR OCTOBER, 1922 



Josephine McLean, a portrait iuj 

Beatrice Beckley, a portrait 209 

An Open Letter to Augustus Thomas, editorial 210 

Alia Nazimova as Salome 211 

George Bernard Shaw, a portrait 212 

An Interview with Shaw Carlton Miles 213 

Dance of the Dawn 214 

Europe's Premier Playhouse, an article Oliver M. Sayler 215 

Pictures of the Moscow Art Theatre 216-217 

Pelleas and Melisande, a poem Leolyn Louise Everett 218 

Carlotta Monterey, a portrait 219 

Are the Theatre's Troubles to End? Helen Ten Broeck 220 

Maria Cambarelli, a portrait 221 

A Page of Profiles 222 

Going Broke for Art's Sake Morris Gett 223 

Sacha Guitry, a portrait 224 

Mr. Hornblow Goes to the Play 225 



"Shore Leave" in pictures 226 

"The Monster" in pictures 227 

He Who Also Gels Slapped 229 

Kempy ]. C. Nugent and Elliott Nugent 230 

Marjorie Rambeau, a biographical page 231 

Bobby Clark, a portrait 233 

Martha Lorber, a portrait 235 

Adrift in the Roaring Forties Benjamin DeCasseres 236 

A Trio of Terpsichoreans 237 

Why I Am Wonderful Klanil Johaneson 238 

"Scherzo," a study 239 

Domesticity in the Film Country 240 

May Yokes, an interview Carol Bird 241 

Heard on Broadwa'y L'Homm' Qui Sail 242 

Two Important New Pictures 243 

The Amateur Stage M. E. Kehoe 245 

Fashions Anne Archbald 249 



/"JTTtf TVTTY'T 



Kenneth Macgowan and Robert Edmond Jones have returned from Europe with a quantity of inter- 
esting new material < They Btart giving it to us in November THEATRE Jt A fine interview 
with Bernhardt given recently in her dressing room to Alice Robe < "The Mirrors of Stageland" will begin to expose the innermost 
character of Broadway's famous figures <t "A Serpent's Tooth," the latest of the big successes in condensed form Jt The begin- 
ning of a new department touching the "high spots" of the operatic world J8 Other features in abundance and the usual superb pictures 



Cover Design by Homer Conant 



F. E. ALLARDT. Director of Circulation 



LOUIS MEYER-, 

PAUL MEYER/ Pllblitheri 



Published monthly by the Theatre Magazine Company, 6 East 39th Street, New York. Henry Stern, 

president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four 

dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c. 



[207] 



'! 

U 



II 



GORHAM 




- In think ing of Silver the name 

DELUCA HUGOKRElSLfcK wr.tvtvniMv^r A 

KUBELIK WHITEH1LL 

LASHANSKA WILLIAMS 

MARTTNELLI W1THERSPOON 

McCORMACK ZANELLI 

MELBA ZIMBALIST 
MORINI 



DESTINN 

EAMES 

ELMAN 

FARRAR 

GALLLCURCI 



Victor artists are the really great artists of this present 
generation. Their names are inseparably associated with 
noteworthy musical performances and their number is con- 
stantly increasing. Whenever a new artist of exceptional 
ability appears, that artist chooses to become identified 
with the host of world-famed artists whose masterful 
interpretations are so faithfully portrayed on Victrola 
instruments and Victor records. 

Victrolas $25 to $1500. New Victor Records on sale at 
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Important : Look for these trade-marks. Under the lid. On the label. 

"Victor Talking Machine Company, Carnden, New Jersey 




[208] 



VOL. XXXVI. No. 259 



OCTOBER, 1922 



Portrait by Hugh Cecil of London 

BEATRICE BECKLEY as Desdemona 

The co-star and -wife of James K. Hackett -who, with her husband, has scored a significant 
success playing Shakespearean repertory in England and on the Continent. 




T209T 



THEATRE MAGAZINE 



ARTHUR HORNBLOW. Editor 




Editorial 

An Open Letter to Augustus Thomas 






PERMIT us, Mr. Thomas, to express thus publicly our 
congratulations both to you and the Producing Managers 
Association on your designation by that body as its Exe- 
cutive Chairman and Arbiter of the theatre's troubles. That 
such an overseer is necessary has been manifest for some time. 
That it is yourself who has been nominated for the office is 
excellent good fortune for the stage and happy augury of a 
successful outcome for the purposes of the appointment. 
i 

For over twenty-one years THEATRE MAGAZINE has been 
the sole living chronicle of the American theatre. Its volumes 
are a handsome, dignified andj..ust record, with a present actual 
monthly circulation of over sixty thousand and over one hun- 
dred thousand readers, of the theatre's development and achieve- 
ments. There is no progress or occurrence of importance in the 
world of the stage that we do not report. But we venture 
to say that nowhere in those volumes is mentioned a more 
portentous and meaningful step in the growth of the theatre 
as a power or a more significant reminder that the day of the 
mummer is forever dead and a great artistic organization come 
to take his place, than the fact of your appointment as recounted 
elsewhere in this issue of the magazine. 

We are not so far from the time when the actor 
was half-scamp, half-itinerant in the eyes of society. It was 
a rare Thespian, indeed, the magnitude of whose gifts could 
bring him position and respect. The heritage of that repute 
lingers faintly and decreasingly to this day. The very play- 
house he worked in was a mushroom institution, a house of 
cards. 

His living world was a world apart. There were no courts 
for him and but little justice. He was endlessly and helplessly 
victim of the unscrupulous and deceitful, both in his profession 
and out of it. Rarely had he a vote. In fairness, let it be said 
that the situation as it existed was by no mean ascribable en- 
tirely to the prejudices of society. It was ascribable, in large 
part, to the incorrigibly happy-go-lucky character of player, folk 
and to the weakness of their standing not within the solid walls 
of a protecting organization but as socially and economically 
ragged individuals. That day has changed. Actors of intel- 
ligence and initiative and and enormous personal courage have 
within less than a decade brought the actor's position to one of 
dignity and strength. In union he has found his own. And in 
that union there is no right under his citizenship and no moral 
or ethical or commercial consideration that he cannot and will 
not insist upon and receive. 

IT goes without saying that in the first flush of any sense of 
new power, caution and reservation cannot be looked for. In 
the very effort to establish more firmly a recently acquired 
force, it is natural enough to emphasize its capacities. Given 
a stout stick for the first time a child will wield it generously 
until curbed. The "closed shop" is one of those exaggerated 



demands, emanating from the Actors Equity, based more on an 
excess of zeal than on the actual necessities of the situation. 
We do not believe the policy need endure or will endure. 
Actually, it has the potentiality of doing more harm to the 
actor and his art than of doing good to the organization that 
sponsors it. Another inadvisability is continued association 
with the American Federation of Labor, a mighty union, but 
one for labor and not for the artist. But, at least, it is wholly 
possible to comprehend and sympathize with the idealistic and 
enthusiastic motives which first propelled such policies into 
being. 

None better than you, Mr. Thomas, to understand these and 
the other matters that are giving managers ample cause to 
scratch their heads. Long before you became the acknowledged 
dean among our playwrights you were yourself an actor and 
before that a union workman. You know the field of the 
theatre as do few other men. On whatever side you may be, 
you are qualified to sympathize and deal understandingly with 
the other side's point of view. Therein lies the supreme quality 
of a great arbitrator. It will cause you to be received with 
tolerance and generosity by the actors and other organized 
workers of the stage who have long respected your work and 
your word. Complete and swift adjustment of the major the- 
atrical difficulties can come out of your wise counsel and we 
believe we voice the attitude of practically every man and wo- 
man in the theatre today in welcoming you to the post you have 
assumed and wishing you in it the success which you, more than 
any other man we know, can reasonably be expected to achieve. 

YOU are typically cautious in your predictions, made else- 
where in this issue. In addition to your work with the actor 
and theatre workers, you have inter-managerial disputes to 
settle, and all-important matters that have to do with the 
theatre in its relation to the public. Broadway has emerged 
from a desperately bad season. It is on the verge of a new 
season, in which pioneer work of a sort must be done to regain 
the affection, interest and patronage seriously alienated by the 
perilous combination of bad times, a high tide of indifferent 
plays, and the movies. Times are to be better. There is a 
marked lull in interest in pictures, especially in large commu- 
nities, because of the so frequently banal products being released. 
It is the psychological moment for a big effort to get back the 
lost theatre fan and rewin the failing patronage of the one who 
is not yet quite lost. Fewer plays, cleaner plays, more carefully 
produced plays, tickets at reasonable prices based on what is 
given for the money, the abolition of excessive taxation by ticket 
speculators will produce that result just as surely as the Ameri- 
can theatre can be the greatest in the world today. May they 
listen to you, those managers who have placed you at the helm ! 
It will mean money in their pockets and fat years to come. It 
will mean a fine theatre and out of that a finer native drama. 
Here's to you, Mr. Thomas. THEATRE MAGAZINE wishes you 
good luck and God speed ! 



[210] - 



THEATRE MAGAZINE. OCTOBER. 192* 



Europe's Premier Playhouse in the Offing 

The Noted Moscow Art Theatre and Its Plans for an American Tour 



By OLIVER M. SAYLER 

of the dissatisfaction with the doldrums 
into which the Russian stage had fallen in 




WHEN the Moscow Art Theatre 
comes to New York for a brief 
engagement of three months, be- 
ginning early in January, as planned,* we 
will be afforded an opportunity to formu- 
late an esthetic judgment of the first order. 
The company, which is a co-operative group 
and permits no mere business manager to 
decide its policy, is now considering an 
American offer back in Moscow. If the de- 
cision is favorable, we shall be asked on our 
own responsibility to appreciate and accept 
Europe's premier playhouse without de- 
pendance on the rubber-seal approval of 
Paris or London. 

The coming of the Moscow Art Theatre 
would be an event of major .moment even 
if, like BaliefFs Chauve-Souris, it were to 
proceed hither on the heels of triumphant 
dalliance in the French and British capitals. 
Wearing its quarter century of richly 
varied endeavor 
like a patriarch, ^H 
it still possesses a [ m^H^HH^^H 
spirit so youthful 
and so eager and 
so vigorous that 
it retains the 
leadership of the 
modern Russian 
stage against the 
inroads of the 
most novel and 
radical of the in- 
novators. And al- 
though it has sel- 
dom ventured 
farther afield 
than Petrograd, 
its reputation has 
become interna- 
tional, universal. 

Stopovers O n Hornstein of Moscow 

the Seine and the 

Thames, therefore, could only delay and 
not dim the satisfaction of our expectancy. 
"Balieff, for example, used his European 
reputation merely as a convenient lighter- 
age to a Broadway haven, and then pro- 
ceeded to build an American vogue as dis- 
tinctive of our continent in character as it 
has been in size. It might have been like- 
wise with the Moscow Art Theatre if it 
had elected such a leisurely itinerary. 

THE BIRTH OF A PLAYHOUSE 

INSTEAD, if the arrangements are 
ratified, the entire first line of the com- 
pany will embark on two specially char- 
tered ships at Riga about the middle of 
"December, attended by the complete origi- 
nal scenic equipment of the productions to 
be included in the New York repertory, 
.and it will proceed without a stop through 
the Baltic, the Channel and across the 
Atlantic. And thereby hangs the tale of 
-our opportunity and our responsibility. 
The Moscow Art Theatre was born out 

As we go to press announcement is definitely made by Morris Gest that he is 
fcringing the Moscow Art Theatre to New York in January, for a season of repertory. 

[215] 



sured them that both of them would still 
be in active control of its destinies on excur- 



the final decade of the nineteenth century, sion to the opposite side of the earth, they 
The Russian stage was not alone in its would probably have dismissed him as an 
decrepitude. All Europe suffered from the erratic busybody. 

same malady. And all Europe seemed to The wheels began to turn at once in the 
find voice for its discontent almost simul- development of the project in the same 
taneously: through Gordon Craig in Eng- patient, painstaking manner which has 
land, Adolph Appia in Switzerland and characterized every step of their quarter- 
century existence. A year and 
a summer passed with rehearsals 
of the first season's repertory. 
The theatre opened in the 
autumn of 1898 with Count 
Alexei Tolstoy's historical trag- 
edy, "Tsar Fyodor Ivanovitch," 
a gorgeous and profoundly 
moving spectacle which has 
been securely retained in the 
repertory ever since. The suc- 
ceeding productions of plays by 
Hauptmann, Pisemsky, Shakes- 
peare and Goldoni failed to re- 
peat the success of the opening 
bill, but fortune turned favor- 
able once more with the dis- 
closure of Anton Tchekoff's 
"The Sea Gull." Although a 
failure previously in Petrograd, 
this play scored such an em- 
phatic triumph at the hands of 
this new group that its title be- 
came popularly associated with 
the theatre and gave it the 
insignia of a gull skimming the 
water which it uses to this day. 
The discovery of Tchekoff 
by the Art Theatre and of the 
Art Theatre by Tchekoff was 
one of those happy co-ordina- 
tions which happen once in an 
artistic generation to renew 
human hope in idealistic en- 
deavor. Which of the two 
playwright or playhouse owes the more to 
the other, has always been a moot question 
in Moscow. The association once begun 
continued for six years or until the play- 
wright's death. Under it, three other plays 
of the first magnitude were written and 
produced "Uncle Vanya," "The Three 
Sisters" and "The Cherry Orchard." Cer- 
tainly the latter two owe their birth in 
dramatic instead of narrative form to the 
encouragement which Tchekoff obtained 
through the success of the first two plays 
of the quartette. 

THE GROWTH OF A REPERTOIRE 



CONSTANTIN STANISLAVSKY 

Illustrious as being one of the founders, 
the directing genius, and the principal 
artist of the Moscow Art Theatre. There 
is no more interesting figure in things 
dramatic in the world today. At the left, 
Stanislavsky is seen as Count Liubin in 
Turgenieff's "A Lady From the Provinces" 

(A notable collection of Moscow Art Thea- 
tre pictures will be found on the follow- 
ing pages) 



Max Reinhardt in Berlin. The Russian 
counterparts of these artistic protestants, 
working independently of them but actu- 
ated by the same causes, were the amateur 
actor, Constantin Stanislavsky, and the 
playwright, teacher of acting and business 
man, Vladimir Nemirovitch-Dantchenko. 

The eighteen-hour session at a Moscow 
cafe table in June, 1897, between these 
two esthetic rebels has become as firm a 
foundation stone in the traditional history 
of the Moscow Art Theatre as the legend 
of the cherry tree in the biography of our 
first president. Out of that session was 
evolved the plan for the theatre, a co- 
operative enterprise with an ambitious goal, 
but it is doubtful whether in their wildest 



TN serving as spiritual underwriter to 
-*- Tchekoff, the Moscow Art Theatre had 

dreams either of them foresaw the heights performed a function comparable only to 

to which their project would reach or the the Irish Players sponsorship of Synge. 

influence which it would exert over the 

whole course of the modern Russian theatre 



and even the theatre of the world at large. 



In its fifth season, it extended a similar 
helping hand to Maxim Gorky by the pro- 
duction of his "Smug Citizens" and "The 



If anyone had painted a picture of their Lower Depths," better known to us through 
infant twenty-five years after and had as- its German title, "Nachtasyl" or "Night 




VASSILY KATCHALOFF 

Principal actor of the Moscow Art Theatre after Stanislavsky am) 

famous as the greatest of the Russian Hamlets. At the right. 

Katchaloff is seen in his remarkable portrayal of the renegade 

Baron in Gorky's "Lower Depths" 

OLGA KNIPPER 

(Upper right) Leading actress of the company and 

widow of the playwright Tchekoff. Seen here as the 

Queen in Count Alexei Tolstoy's "Tsar Fyodor 

Ivanovitch" 





IVAN BERSENIEFF 

The young "leading man" of the Art Theatre, noted 
for his portrayal of romantic juvenile roles 




The simple yet rich setting of the palace in Act II of Count Alexei Tolstoy's 

"Tsar Fyodor Ivanovitch" 

( Below) The abject squalor of the lodging in Gorky's "Lower Depths," seen 
recently in this country as "Night Lodging" 



NIKOLAI MASSALITINOFF 

Highly popular low comedian of the company. Seen at the right as the comic 
Lieutenant in Saltnikoff'i "The Death of Pazuhin" 




MARIA 



One of the most interesting actresses of the younger 
the highly dramatic role of the daughter in 



SOME PERSONALITIES AND PRODUCTIONS 
The Internationally Famous Stanislavsky Art Theatre of Moscow May Soon 

[216] 



THEATRE MAGAZINE, OCTOBER, 1922 




The admirable stage grouping typical of all Stanislavsky productions in Acl III 

of Andreyev's powerful drama, "Anathema" 

( Below) The company is blessed with small part players who are artists an 
immensely real scene in Gogol's "Inspector General" 




VLADIMIR GRIBUNIN 

The company's foremost player of character parts, as himself 

and in character. These and other portrait! in this group 

illustrate strikingly the Russian's genius for make-up and the 

sincerity that attends bis assuming another personality 

MARIA ZHDANOVA 

(Upper left) One of the outiUnding young aoticul 
actresses and graduate of the "studio" system of training 
which gives the Russian actor a splendid apprenticeship 





OLGA BAKLANOVA 

Whose rare beauty contributes much to her in'erpre- 
tation of what we know as "ingenue" roles 




GERMANOVA 



generation at the ripht as herself at the left in 
Griboyedoff's "The Sorrows of the Spirit" 



IVAN MOSKVIN 

The leading high comedian of the Russian stage. Seen at the left in Ostrovsky'g 
play "Enough Stupidity in Every Wise Man" 



OF RUSSIA'S MOST NOTED PLAYHOUSE 

Follow Its Gayer Confrere the Chauve-Souris to the Boards of Broadway 

[217] 



Lodging." As the repertory developed, 
year by year, Andreieff, too, found encour- 
agement by the production of "The Life of 
Man," "Anathema," "Yekaterina Ivan- 
ovna" and "Thought." 

Meanwhile, the Russian classics were 
searched and their treasures restored to con- 
temporary view with the revival of such 
plays as Gogol's "Revizor" or "The In- 
spector General," Pushkin's "Boris God- 
unoff," GriboyedofFs "The Sorrows of the 
Spirit," Ostrovsky's "The Snow Maiden" 
and "Enough Stupidity in Every Wise 
Man," Count Lyof Tolstoy's "The Living 
Corpse" ("Redemption"), and dramatiza- 
tions of Dostoievsky's novels, "The Broth- 
ers Karamazoff," "Nikolai Stavrogin" 
("The Possessed"), and "The Village 
Stepantchikovo" ("The Friend of the 
Family"). 

Other dramatic literatures were not for- 
gotten, either. Almost the entire acting 
canon of Ibsen found its way to this stage. 
Three plays of Knut Hamsun were honored 
by production. Shakespeare was repre- 
sented more than once most notably by 
"Hamlet" with the collaboration of Gor- 
don Craig, who lived an entire winter in 
Moscow in its preparation. Moliere and 
Goldoni had their innings. And not the 
least important foray into foreign fields 
was the production of Maeterlinck's "The 
Blue Bird" a full two years before even 
Paris saw it. 

Coincident with the expansion of the 
repertory, Stanislavsky and Nemirovitch- 
Dantchenko set about to recruit a company 
with a fresh and unstilted viewpoint. From 
among his amateur associates of the Mos- 
cow Literary and Artistic Circle, Stanis- 
lavsky brought his wife, Mme. Lilina; 
Vassily Luzhsky, a character actor of broad 
range; and Alexander Artyom, amazingly 
deft delineator of the roles of wizened old 
men. From his pupils at his school of 
acting, Nemirovitch-Dantchenko brought 
Mme. Knipper, later to become the wife of 
Tchekoff; Ivan Moskvin, today Russia's 



leading high comedian; and V. Meyerhold, 
now one of the Moscow Art Theatre's 
leading rivals among Russian producers 
with headquarters usually in Petrograd. 

Little by little the company grew. Its 
almost instantaneous success gave its direc- 
tors first call on the services of budding 
genius wherever it cropped up. By a con- 
tagious alchemy of the spirit, which has 
baffled the descriptive powers of all Rus- 
sian critics, Stanislavsky implanted in his 
associates an inner vision of plays and roles 
and a general method of spiritual and psy- 
chological as well as superficially realistic 
interpretation which distinguished the thea- 
tre's productions from all others. 

DEVELOPMENTS OF THE EXPERIMENT 

IT is not within the province of a brief 
article to analize closely the esthetic 
theories which have held sway at one time 
and another on the stage of the Moscow 
Art Theatre. The perfection of the exist- 
ing realism of the 'nineties was the first 
goal the achievement of such an accurate 
and convincing copy of life that it would 
seem to be life itself. Mere correction of 
existing faults soon grew into a search for 
the particular and absolutely essential de- 
tails which were necessary for conveying 
this semblance of life. A third step in- 
volved experiments with symbolic interpre- 
tation of life and a fourth the richer 
embodiment of these symbolic methods by 
means of significant realistic detail or, if 
you prefer it the other way round, the 
spiritual emphasis on the psychological 
backgrounds of realistic representation. 
The result, therefore, has been a constant 
growth toward perfection in the interpreta- 
tion of the plays in its repertory. Such 
plays as "Tsar Fyodor" and Tchekoffs 
"The Three Sisters" and "The Cherry 
Orchard" are not merely repeated by rote 
today as they were originally given in the 
early days of the theatre, but with the 
fuller experience and skill and insight 
which years of patient and courageous ex- 



periment have placed at these artist?' 
command. 

No glimpse of this unique theatrical 
organization, however hasty, is complete 
without attention to a few of its most 
characteristic customs. The same thor- 
oughness which was devoted to the prepara- 
tion of the first season's repertory has been 
applied to every one of the sixty-odd pro- 
ductions. Two years, in some instances, 
have been accorded to the rehearsals of a 
play. A hint of the earnestness with which 
these Russians take their profession and of 
the ends to which they go to create the 
unbroken illusion of life on their stage is 
seen in the refusal to admit anyone to the 
auditorium after the curtain rises until the 
end of the first act and in their taboo on 
curtain calls or applause. 

The influence of the Moscow Art Thea- 
tre on the entire course of the modern 
Russian stage is nothing short of phe- 
nomenal. The theatres and producers which 
have not tried to emulate its methods have 
devised their own theories and methods as 
a direct protest against those maintained by 
the Art Theatre. In Russia you are either 
enthusiastically for the Moscow Art Thea- 
tre and these are the vast majority or 
you are bitterly against it. And even if 
you oppose it, you are bound to admire and 
respect it. On its stage and in its schools 
and its four Studio Theatres, nearly every 
important personage now active on the 
stages of Moscow and Petrograd had his 
early training. And not the least of these 
is Nikita Balieff he of the Chauve-Souris 
who in the course of the negotiations be- 
tween Morris Gest, who is the probable 
American manager of the Moscow Art 
Theatre, and the emissary of the Art Thea- 
tre this last summer served as sponsor for 
each party to the other. It is not too much 
to say that if it hadn't been for the round- 
faced and round-framed Puck of the 
Chauve-Souris, the Moscow Art Theatre 
would not now by planning to pack its 
bags for its American tournee. 



"PELLEAS AND MELISANDE." 

Like two wan ghosts of passion, pitiful 
In lack of comprehension of the world, 
Having forgotten all things save their love, 
Impelled by cynic destiny, they walk 
Amid the tragic mazes of their lives. 
With lips upraised like flowers in the dark, 
Hand clasped in hand, they travel to their doom 
Like children to their beds. Their hearts are scarred 
With wounds of hate they cannot understand 
And their short questioning is smothered by 
Inexorable Fate. Immortal ones, 
Pure lovers, melancholy spirits, we 
Have also felt the poisoned mists of life 
Rise up to choke us and we call to you 
Weeping for what you lost but blessing death, 
Inevitable death, for what you gained. 

Leolyn Louise Everett 
[218] 



THEATRE MAGAZINE, OCTOBER, 1921 





CARLOTTA MONTEREY 

Perhaps the Most Photographed of Actresses Caught 
In a Rare and Stirring Study by Count de Strelecki 



[219] 



Are the Theatre's Troubles to End? 

Augustus Thomas, New Grand Arbiter of Broadway's Fate, Pictures Bright Outlook 



AT this moment Augustus Thomas 
stands the unchallenged prime min- 
ister of the American stage. A unan- 
imous vote of the Producing Managers' 
Association a body whose membership in- 
cludes the Belascos, the Frohmans, the 
Klaws, the Dillinghams, the Erlangers, the 
Shuberts, the Cohans, Harrises, Broad- 
hursts and Tylers of the theatre and such 
younger enthusiasts in the field as the Hop- 
kinses, the Goldens, the Selwyns, the Pem- 
bertons and others have conferred upon 
him the powers and prerogatives of sole 
First Consul of the drama. 

In Mr. Thomas is vested fullest author- 
ity to hear all questions affecting the inter- 
woven interests of managers, players and 
playwrights the eternal triangle of the 
stage and to render judgment in all differ- 
ences. And so far as managers are con- 
cerned, there is no appeal from his decisions. 

In the midst of this busiest period of the 
theatrical year, the season of fall rehearsals 
and productions, the most absorbing topic 
among theatrical people, the topic that 
overshadows all others, is the appointment 
of Mr. Thomas to this unique and newly 
created office. No man associated with the 
theatre has touched life at more points nor 
at more widely separated poles than 
Augustus Thomas, playwright, law stu- 
dent, railroad mechanic (the new overlord 
of the theatre holds a pride approaching 
haughtiness in his early work on a western 
railroad, and his youthful membership in 
one of the big bodies of organized labor), 
newspaper man, athlete, student of psy- 
chology and of life. 

His earliest incursion into the field of 
honest toil was as a page boy in the capitol 
of Washington, where as a particularly 
alert and knowing youngster he seems to 
have picked up at first hand a fine fund of 
information as to the governing bodies of 
our country and an uncanny familiarity 
with parliamentary procedure that has 
stood him in good stead during later years 
as a member of the legislative body of the 
State of New York and a figure of prom- 
inence in the National Committee of the 
political party with which he is affiliated. 

WELL EQUIPPED FOR TASK 

AS a dramatist Mr. Thomas, who has 
always "produced" his own plays (in 
the sense of directing rehearsals), and has 
even acted in several of them, has come 
into closer relations than most writers with 
the three powers of the stage actor, man- 
ager, and the men who build and paint the 
scenery which exploits the dramatist's idea. 
Thus he has developed close technical 
knowledge and clearly focussed vision of 
the other man's point of view that peculiar- 
ly fit him for an office requiring a fine 
sense of justice, a peculiar talent for getting 
things done as he believes they should be 
done, an enormous tact in unifying widely 
divergent concepts into a harmonious 



By HELEN TEN BROECK 

whole. All these qualities, plus a generous 
and open mind and a robustly vigorous 
executive faculty, should prove valuable to 
actor and manager alike and co-ordinate 
the efforts of producer and player to the 
benefit alike of stage and the public. This, 
at least, is the conclusion of the men and 
women who discuss the new state of things 
in places where stage people voice their 
rights and their wrongs, their beliefs and 
their dissidencies. 

"Why did you select Mr. Thomas for 
his present position ?" asked Theatre Maga- 
zine of Mr. Sam H. Harris, President of 
the Producing Managers' Association. 

"Because we believed him, after dis- 



"One thing that I certainly 
do not intend to do is to im- 
pose or attempt to impose 
upon the managers any ideas 
of my own as to the character 
of their plays. The theatre 
is an institution that lives by 
an excess of individualism. 
Nothing would be more 
sterilizing than a stencil." 

Augustus Thomas 



cussing every man who seemed available 
for the place, to be the best man for the 
place. First of all for his sense of justice, 
his love of a square deal for both sides of 
any controversy that shows in his plays 
and his fearless personal integrity. 

"In an association where so many differ- 
ent points of view are held and where so 
many members have widely varying inter- 
ests, we need a man who knows the stage 
from A to Z, who has wisdom and breadth 
of views sufficient to look over and under 
and through all the different angles of 
questions involved in our various activities 
and see a way of reconciling the manifold 
divergent views that every problem of the 
theatre presents." 

In his big office in the rooms of the Pro- 
ducing Managers' Association, the new 
First Consul of the theatre welcomed a 
chat with Theatre Magazine. 

"What do I hope to do in this job?" 
he echoed in answer to the obvious first 
question. "I wish I could tell you," he 
said, "but it would be premature and idle 
to say how we hope to do this thing, or 
that or the other. Nothing is an accom- 
plishment, no matter how clearly planned, 
how dearly hoped for and worked for, until 
it is accomplished. Then it speaks for it- 
self. Problems to be solved ? Of course ; 
but the armed and bristling thing that 
looms up now as a difficulty may adjust 



itself and fall into normal relationship to- 
morrow with the thing it seems to chal- 
lenge and menace today. So perhaps the 
things I want to do in this job are doing 
themselves now. And other problems may 
be shaping themselves for later solution. 
Things are always changing. Nothing is 
static. The main thing is to adjust ourself 
harmoniously to ever altering conditions. 

"Three things," continued Mr. Thomas, 
"stand out as claiming special adjustment 
in the theatre just now, and to these mat- 
ters the Producing Managers' Association 
are giving the deepest attention. First, the 
evil of ticket speculation the matter of 
faith by the box" office with its public. Laws 
to control and check this form of graft 
have been enacted by the Legislature. 
Managers are charged with the duty of 
seeing that these laws are enforced. Many 
plans have been tried for remedying the 
evil, with many degrees of temporary suc- 
cess; but a united carefully wrought out 
plan of campaign diligently prosecuted has 
not yet been put to the test. Such a cam- 
paign will be waged with vigor by the P. 
M. A. until the law is respected and fully 
enforced. 

AGAINST POLITICAL CENSORSHIP 

ANOTHER evil, and a very grave one, 
that threatens the theatre, is the matter 
of z. political censorship of the stage. Against 
this official meddling the Producing Man- 
agers' Association stands squarely opposed. 
We shall unite with the Authors' League 
and affiliated associations in prosecuting 
vigorously any such censorship. How? 
Well, the Authors League has worked out 
a plan of jury decision, by which plays de- 
serving condemnation will be silenced 
promptly. With reputable managers united 
to uphold their verdict, theatres will be 
unavailable for the exploitation of improper 
plays. This will not be a one man or a 
one woman jury, but a big well balanced 
court of the stage. And let me say, right 
here," continued Mr. Thomas earnestly, 
"one thing that I certainly do not intend to 
do is to impose or attempt to impose upon 
the managers any ideas of my own as to the 
character of their plays. The theatre is 
an institution that lives by an excess of 
individualism. Nothing would be more 
sterilizing than a stencil. 

"A third condition which now con- 
fronts the stage at this moment with 
a variety of newer aspects, is its relation to 
organized labor. Here is a tangle of mis- 
understandings to be smoothed away. That 
is to say, when a clear understanding is 
arrived at in matters just now clouded by 
misconception of relationships, it will be 
seen that no real antagonisms exist only 
quite adjustable differences as to means of 
attaining the same ends. Good sense, good 
feeling and a mutual understanding are 
wonderful peace makers." 



[220] 



THEATRE MAGAZINE, OCTOBER, 1921 




Portrait by Edwin Bower Hesser 



MARIA GAMBARELLI 

A captivating young Italian graduate of the Metropolitan Opera Ballet 
and pupil of the greatest Russian and Italian dancing masters whose 
art daily delights the audiences of the immense Capitol Theatre. 

[221] 





LOU TELLEGEN 
Now starring in a condensed "Blind Youth" in the Keith housea 



Alfred Cheney Johnston 



JOHN BARRYMORE 

Soon to star in a new play under the Hopkins banner 




Alfred Cheney Johnston 

LIONEL BARRYMORE 

The star of "The Fountain," Eugene O'Neill's newest play 




Raymor 
JOSEPH SCHILDKRAUT 

To play the title role in "Peer Gynt," a promised production by the Guild 



A PAGE OF PROFILES 
An Unusual Group of Four of the Handsomest Men on the Stage 

[222] 




THEATRE MAGAZINE, OCTOBER, 1922 



Going Broke for Art's Sake 

Adventures in Making and Losing Millions in the Sweet Cause of Beauty 

By MORRIS GEST 



,-. f,?, r dr . amat ,' c Presentations, any one of vihich trebled the cost of the average production, Morris Gest has sunk a good sited fortune 
The Wanderer, Chu Chin Chow," "Aphrodite," and "Mecca" theatrical spectacles gargantuan in size, infinite in detail, dazzling in 
prismatic coloring, epics of the stage. Incidentally he has done something more than lose a fortune; he has conceived an unsurpassable 
standard of dramatic endeavor, created for America a thing that can be equalled nowhere in the -world. And less than thirty years ago 
Morris Gest was an a-we-mspired lad of nine, landing on the shores of an alien land, ambitious, hungry, bewildered one small, insignificant 

personality waiting to be swallowed up. The Editor. 






BEING a theatrical manager on Broad- stopped to figure how much money a thea- 
way is not usually synonymous with tre would hold at capacity prices. If the 
bankruptcy. The Muse of Arr can sum total of production exceeded the sum 
be put on a paying basis. Silk tight*, total of receipts, naturally I lost money, 
laughter, something naughty, and a little 
music there is one infallible formula. 
However, much the Muse may languish 
for loftier altitudes, audiences will pay and 
clever managers reap the harvest. I fear 
I can not be numbered among the sagacious 
managers, for in the past four years I have 
lost over three-quarters of a million dollars. 
The fact stands out distinct and immutable. 
I do not begrudge a cent of it however, for 
it has taught me aplenty. 

MY SUCCESSFUL FAILURES 

"V/TANY people have shown a pardonable curiosity 
-I-"-*- in regard for my financial failures. I have only 
myself to blame. Perhaps if I were not such a com- 
plete egoist I may as well confess it myself and spare 
my critics the pleasure I would never have placed 
myself in the embarrassing position I did. Always I 
have tried to give the public what / wanted, not what 
they were supposed to want. Sometimes I have found 
a great many people who liked the 
things I liked. Other times I have 
not found so many. In any case I 
have done what I considered my best, 
have expressed myself the thing I 
saw, the emotion I felt, the picture 
I admired, the story that captivated 
me. Art, when you come to define it, 
is really Life seen through a tem- 
perament. If there are enough tem- 
peraments at large to see it as you 
do, then possibly your production 
will be a financial success. Otherwise it 
will not. 

There is a tradition in the theatrical 
world that sooner or later every producer 
of big theatrical enterprises goes broke. 
With rare exceptions this has been the fate 
of many of our producers who attained suc- 
cess only to die practically penniless. Henry 
Abbey, Augustin Daly, A. M. Palmer, 
Sheridan Shocks, Maurice Grau even 
dear Charles Frohman all made fortunes 
and lost them before they died. I do not 
mean to place myself in a category with 
these men ; but the fact remains that in one 
respect at least I share their immortality 
I too have gone broke. My only consola- 
tion is that I have done so in the interest 
of the theatre. I have given the American 
stage its most superb spectacular productions. 

They proved of immense interest to the 
public, but unfortunately I am bad at 
arithmetic. I never stopped to figure how 
much a production would cost. I never 




MR. GEST AS SEEN BY REMISOFF 

When I produced spectacles that could not 
possibly pay expenses, even if every seat in 
the theatre was sold at every performance, 
then the lesson was brought home to me 
that I would have to watch the dollars or 
else go to the poor house. By the time I 
locked the stable door the horse was stolen. 

WHAT BELASCO SAID 

MY losses on "The Wanderer," "Chu 
Chin Chow," "Aphrodite," and 
"Mecca" were terrific. On the opening 
night of "Mecca" at the Century Theatre 
Mr. Belasco took me to one side after the 
sensational Fokine Ballet and said "Rus- 
sian," he always calls me Russian instead 
of by my first name, "you have gone as far 
as any man can go. No one can surpass 
this, probably no one will ever equal it. It 
is the crowning spectacular achievement of 
the stage and of your career, and now it is 
time to stop." I felt at that moment that 
I had failed, but at the same time, knew 

[223] 



that I had succeeded. And yet these four 
productions were not financial failures in 
themselves. The trouble was that they 
simply cost too much, and even if I sold out 
I couldn't break even. The same thing 
happened to Mr. Belasco's "Debureau," 
which played six months to absolute ca- 
pacity and lost $135,000. 

The actual cost of the four productions 
mentioned totaled more than $1,000,000. 
"Mecca" alone cost me $408,000. "Aphro- 
dite" required the expenditure of more 
than $300,000 before the curtain went up 
for the first time. "Chu Chin Chow" cost 
$260,000, while "The Wanderer," al- 
though a very elaborate production and the 
first of the series, actually cost only $175,- 
000. All these ventures were 
made at a time when lumber and 
materials were higher in price 
than ever before in the world's 
history, due to the war. The cost 
of production was not excessive, 
but the salaries of actors, stage 
hands, musicians and artists, were 
higher than ever before. 

STAGGERING SALARIES 

THE salary lists and dress re- 
hearsal costs were staggering. 
Stage hands and carpenters made 
,^__ as high as $280 a week during the 
period of rehearsals due to the sys- 
tem of double pay for overtime. 
It became necessary to postpone 
"Aphrodite" for one week and 
owing to existing contracts with 
players and theatre I had to pay out in cash 
$41,000 for thf salaries of more than 250 
people, together with double pay for or- 
chestra and stage hands for one entire week 
of extra rehearsals. 

Of course, in speaking of these enormous 
expenditures the fact must not be over- 
looked that the receipts were likewise 
enormous. We played to the biggest busi- 
ness ever known in most of the theatres. 
In Cleveland we actually played "Aphro- 
dite" in one week to $100,000, yet what I 
made that week I lost soon afterwards. 
Once a manager said to me, in settling up" 
the accounts for a week that averaged 
$40.000 gross receipts : 

"Well, Mr. Gest, I hope you won't 
bring me another of these big shows, be- 
cause even when we sell out we have to 
pay so much for stage hands and other ex- 
penses that the theatre hardly makes a 
cent." 

(Continued on page 266) 




Portrait by Henri Manuel of Paria 



SACHA GUITRY 



A luminary of great brilliance in the Parisian dramatic world, whose plays, such as "Deburau" 
and "The Grand Duke" are already known to New York and who may come himself to act on 
Broadway with his gifted father, Lucien Guitry, and his wife, Yvonne Printemps, later in the season. 

[224] 



THEATRE MAGAZINE, OCTOBER. 1911 



Mr. Hornblow Goes to the Play 




The Monster 

A melodrama by Crane Wilbur pro- 
duced at the Thirty-ninth Street Thea- 
tre by Joseph M. Gaites, on August 
9th, with the following cast: 

Caliban. Walter James; "Red" Mackenzie, 
Frank McCormack; Julie Cartier, Marguer- 
ite Risser; Alvin Bruce, McKay Morris; 
Dr. Gustave Ziska, Wilton Lackaye; A 
Man, Charles Wray Wallace. 

NOT since the Princess Theatre 
players disbanded has a more 
Grand Guignolesque entertainment 
been seen in New York than this 
frankly extravagant thriller by Crane 
Wilbur. It is distinctly in a class by 
itself as a purveyor of 
gruesome chills and is 
guaranteed to curdle the 
blood of even the most so- 
phisticated. As a matter 
of fact, "The Monster" 
is highly sophisticated 
entertainment so sophis- 
ticated as to be a little 
over the heads of the clan 
who customarily turn to 
theatres where the conven- 
tional mystery melodrama 
is being offered. When 
we start dealing with 
sadistic surgeons who 
like cutting up people 
alive and people our 
plays with horribly dis- 
torted and made-up leg- 
less cripples we are going in for a 
form of entertainment that vies with 
the highly intellectual horrors of the 
famous little theatre in Paris that 
specializes in such things. 

"The Monster" is admirably done. 
The play is crude in its dialogue at 
times, but it has been staged and 
mounted superbly. In fact, the sets 
are as fine as I've ever seen in a 
production of the sort reeking with 
the intended atmosphere of the piece 
and lit to perfection. Lawrence 
Marston has done a fine bit of work 
with his direction of the production 
and a word in favor of J. H. M. 
Dudley, who is responsible for the 
scenes, is exceedingly in place. With 
simplicity and intelligence, Dudley has 
put more terror into his scene in the 
vivisection room than has been put 
into many another scene of atmo- 
spheric horror by exaggerated art. 



Crane Wilbur's story is based on the 
soundest Grand Guignol tenets. Three 
strangers a girl and two men are 
cast by circumstance and a bad storm 
into the home of Dr. Ziska, a mysteri- 
ous surgeon living in deserted 
country. Not even the strange things 
which happen the shutting of doors 
of their own accord and the extra- 
ordinary behavior of a giant black 
servant cause the strangers to flee (a 
hardihood which would not be 
shared by your humble reviewer!) 
and before long they are hopelessly 
in the clutches of the monster, Ziska, 
who discloses himself to be a maniac 
whose special tendency is the vivi- 



David Belasco, August 8th, with the 
following cast: 



jonn r. namuiuji; oecouu omumt n> i 'i' 
Woodley; Third Sailor, Paul E. Wilson; 




Mr. Hornblow Specially Recommends: 

CAPTAIN APPLEJACK An admirable comedy of nonsense, 
played lo the King's taste by Wallace Eddinger. 

HE WHO GETS SLAPPED A no-able production of 
Andreyev's poetic tragedy the theatre at its best. 

KEMPY An amusing and human little comedy that cap- 
tivates by its natural charm and bubbling humor. 

KIKI Not for the play, but for the amazing performance 
of its title role by Lenore Ulric. 

SHORE LEAVE A second rate comedy made first class by 
Belasco care and a performance of unusual appeal by 
Frances Starr. 



section of live bodies. This pretty 
gentleman, with the assistance of his 
giant servant and a legless, faceless 
creature who crawls around armed 
with a blackjack, is about to make 
away with his visitors when, as they 
say, "things happen." What the 
things are, I shan't tell, but suffice to 
say, the entertainment is clogged with 
fierce apprehension and interest and 
I recommend it cordially to those who 
like that sort of thing. And I warn 
against it those who don't! 

The cast is excellent. Mr. Lackaye, 
as the fiend Ziska, gives a perform- 
ance that excels anything he has 
done for some time. Walter James 
is amazing as Caliban, the mute giant. 



Shore Leave 

A comedy by Hubert Osborne, pro- 
duced at the Lyceum Theatre, by 



Woodley; Third bailor, Paul t. Wilson; 
Fourth Sailor, Bernard Sussman; Fifth 
Sailor, Jose Torres; Sixth Sailor, Jost 
Ypvin; Seventh Sailor, Kenneth Diven; 
Bimby, Nick Long; Connie Martin, Frances 
Starr; Mrs. Schuyler-Payne, Evelyn Carter 



ANOTHER Belasco success! It is 
extraordinary how the man does 
it. And yet again, looked at from a 
purely technical angle, it 
is not so extraordinary. 
"Shore Leave," produced 
by any one of six or seven 
managers that I might 
name (and some day 
will), would have been 
a dull-as-dish-water fail- 
ure and run perhaps a 
month with generous use 
of a pulmotor and 
"paper." But done in the 
Belasco manner with the 
Belasco care, it steps out 
of the run of the common- 
place and becomes a more 
than entertaining piece. 
Added to Belasco talent, 
in his every production, 
is Belasco love for the 
job he has chosen to be his. The 
principle of slap-dash prevalent in the 
work of nine out of ten of the alleged 
"directors" of Broadway,, is replaced 
in his case by attention to the minutest 
detail, whether in the matter of cast- 
ing, lighting, staging ,,r directing. A 
Belasco production may not be high 
art but it comes near enough to seem 
like it to be corking good "business." 
Mr. Osborne's play is the lightest, 
most trivial script imaginable. Its 
story deals with a sailor who blows 
into the life of a New England sea- 
port dressmaker and blows out again. 
But she has not forgotten the one kiss 
nor the flutter brought to her heart 
by the blue suit and fair face of him. 
For two years she waits hopefully but 
in vain. He has forgotten, though she 
does not like to think so. The fleet 
returns and she resorts to the dodge of 
(Continued on page 228) 



[225] 



I. "Bilge" Smith, U.S.N. (James Rennie) 
rasually enters the advenlureless life of 
Connie Martin (France* Starr), spinster 
dressmaker, and after a good meal and a 
arling kiss as casually goes out of it. 



>. Connie disposes of her property and re 
turns to dressmaking and her old neighbor 
Cap'n Martin (Reginald Barlow) , hopeful 
that "Bilge" will again return. We leave 
you to guess whether he does or not. 



2. Ae the fleet moves out of the harhor in 

Connie*! seaport home with "Bilge" aboard, 

Connie realize! a bit hopelessly that at last 

she is in love. 



3. (In oval) For two years Connie awaits 
newt of the wanderer in vain, and then, 
when the fleet comei in again, finds "Bilge" 
by giving a party to all the Smiths in harbor. 
He pretends to remember her. 




4. First, touched by Connie's fidelity, "Bilge" wants to marry her but upon learning that she 
now owns the freighter on which he stands he elects to return to the life of a bachelor 
rather than have a wife who is richer than himself. 



THE NEW PLAY 

Frances Starr Brings Charm and Humor to her Latest Success "Shore Leave' 

[226] 



THEATRE MAGAZINE, OCTOBER. 1922 



1. An accident and a storm bring three 
tt ranger i, "Red" Markenzie (Frank Me- 
('.or mack) , Jnlie Cartier ( Marguerite 
Risser) and Alvm Bruce {McKay Morns) 
to the sinister home of the strange Dr. 
Ziska (Wilton Lackaye). 



4. Dr. Ziska. who now unowg himself to be 
a madman of Sadistic tendencies, wishes to 
viviiect hit victims for scientific purposes. 
He turns several jolts of elertririty into 
Bruce to prove he means business. 



2. Dr. Ziska's hospitality hardly accepted, 
fearful things begin to happen and /iika'i 
mute giant servant, Caliban (Walter Jame*), 
assists him in the attempted destruction of hie 
visitors. 



3. (in oval) In the momentary tranquillity 
of the room in which they are locked, 
Julie and Bruce forget the terrors threaten- 
ing them in the unexpected realization that 
they are friends of a bygone day. 




5. Bruce strapped to an electric death chair and Julie to an operating table have one lait 
desperate moment together. Nearby can be heard the clink of Ziska's operating in- 
struments. We leave you to guess whether they are rescued and, if so, how! 



THE NEW PLAY 
'The Monster" Brings a Genuine Breath of the Grand Guignol to Broadway 

[ 227 ] 



giving a party for all the Smiths on 
board her own Prince Charming is 
yclept "Bilge" Smith in an effort to 
either see him again or have tidings 
of him. The scheme works. Into the 
trap walks "Bilge" brightly and brisk- 
ly from the deck of a newly arrive;) 
destroyer. 

But he has forgotten her. Two 
years mean many new transient sweet- 
ies to a sailor and it is not until he 
sees how faithful she has been to him 
that he endeavors to conceal his faulty 
memory and pretends to remember all. 
En/in, touched beyond words by her 
seeming devotion he becomes suddenly 
imbued with a realization that this is 
the sort of girl he should marry if 
he is to settle down, and he asks her 
to wed him. 

But the dramatic course of true love 
achieves its customary rough water. 
"Bilge" balks when suddenly he learns 
that his new fiancee has 
become wealthy since 
their first encounter and 
now owns a freighter. 
It is more than he can 
stand. And, protesting 
that a wife with an in- 
come is not for him, he 
goes off again just as be- 
fore. Desolate (but per- 
sistent, I'll say!) the girl 
jettisons all her riches 
and returns to dressmak- 
ing for a living, hopeful 
that some day "Bilge" 
will learn all and come 
back again. In all fair- 
ness, I refrain from dis- 
closing more ! 

As I have hinted above, 
it would take a Belasco aided per- 
haps, by a Frances Starr to l?nci 
charm or novelty or anything else 
meritorious to this old, old tale of the 
"lavs who loved a sailor." I hope 
that when the idea for the play oc- 
curred to Mr. Osborne he was not 
stunned by the novelty of it. But 
coming, as it has, through the mill 
of superb production, "Shore Leave" 
is more or less of a delight and not 
to be missed by people who go to the 
playhouse to enjoy themselves. It is 
happy, gay and, for what it is, per- 
fect. Miss Starr is at her very best 
as Connie Martin, the most resolute 
man-hunter I have seen on the stage 
in many a moon. It is a part that suits 
her prettiness and faint suggestion of 
old-worldliness to perfection. She will 
probably play it for a long time to 
come. 

Mr. Belasco's cast is excellent. 



James Rennie is capital as the hesi- 
tant seaman who comes and goes. 
And the assembled Smiths are im- 
mensely funny. 



Whispering Wires 

A melodrama by Kate L. McLaurin, 
produced at the Forty-ninth Street 
Theatre by the Messrs. Shubert, on 
August 7th, with the following cast: 

Ann Cartwright, Bertha Mann; Walters, 
Stanley Harrison; Payson, George Lynch; 
Doris Stockbridge, Olive Tell; Montgomery 
Stockbridge, Ben Johnson; James Bennett, 
William Webb; Barry McGill, Paul Kelly; 
Drew. George HowcII; Delaney. M. Tello 
Webb: Jackson, Willard Robertson; The 
Trouble Hunter, Malcolm Duncan; Jean- 
nette, Gaby Fleury. 

IT will be the unhappy fate of every 
mystery melodrama during the next 
few years to be called imitations of 
"The Bat" and graded comparatively. 
I must say that in this instance, at 



Mr. Hornblow Specially Recommends: 

THE MONSTER A frankly exaggerated but superbly stage I 
thriller of the Grand Cuignol pattern the best of its kind. 

CHAUVE-SOURIS In a class by itself among musical enter- 
tainments. High art of the absolutely painless variety. 

DAFFY-DILL Frank Tinney in a show that really has some 
comedy in it. A rarity these days. 

GREENWICH VILLAGE FOLLIES Murray Anderson hasn't 
yet produced a show not worth going miles to see. 

MUSIC BOX REVUE An ornate, splendiferous show that has 
become too much of a classic to miss. 

ZIEGFELD FOLLIES A million dollars worth of girls in 
a million dollars worth of clothes a carnival for the eye. 



least, I am inclined to indulge myself 
in the same critical weakness. "The 
Bat" was a masterpiece of its sort. 
Terrible things happened, to confuse 
and paralyze the helpless audience, 
but they were all of them based on 
an intelligent development of the plot, 
were integral elements of its idea, and 
could be completely explained at the 
end. "Whispering Wires" belongs to 
the class of thrillers that are resolved 
to thrill whether or no. There is a 
corking scheme for the commission of 
murder contained in its several acts 
but not much else. 

As a matter of fact, the play's au- 
thor has obviously builded her work 
on the good old principle with which 
much mj'stery fiction is created. De- 
vise an ingenious way of doing away 
with some one, and then write your 
story backwards is the rule. Miss 
McLaurin has done just that. But 



whatever skill and ingenuity that 
talented creator of fiction may possess 
was exhausted apparently by her in- 
vention of the modus optrandi. The 
accompanying and outlying situations 
are banal and unplausible, and great 
stretches of dialogue are devoted to 
such scenes as the accusation of the 
hero with even the gallery gods out 
front unmoved by the pinhead opera- 
tions of the most asinine detective 
any stage has ever had to support. 

Montgomery Stockbridge, a million- 
aire-something-or-other (played finely, 
by the way, by Ben Johnson), receives 
a mysterious death threat which an- 
nounces his forthcoming demise within 
two hours of the warning's receipt. 
A private detective called in to guani 
the old fellow surrounds the house 
with his men, but neglects to take the 
precaution to guard him personally 
and Stockbridge dies as prophesied 
shot in what we are asked 
to believe is some mys- 
terious way. Actually, 
the least intelligent in- 
vestigation of the murder 
would disclose absolutely 
the manner of the death. 
But instead of investiga- 
tion we have endless talk 
and bogus accusations 
that are as weak as 
water. As a matter of 
fact, if it were not for a 
scene in the first act 
which is just a little more 
filled with suspense than 
any other scene I've ever 
witnessed in the theatre, 
I would say that "Whis- 
pering Wires" could not 
possibly continue whispering for very 
much longer. It is the scene in which 
Stockbridge, left alone in his library, 
is about to be killed. We're sure of 
the fact he's going to be killed but 
when and how are the fearful ques- 
tions that would keep any audience 
on tenterhooks. 

There are no performances of any 
particular merit in the production, 
apart from Mr. Johnson's. Olive Tell 
is an exceedingly stereotyped heroine. 



Daffy Dill 

A musigirl comedy produced at the 
Appollo Theatre by Arthur Hammer- 
tein on August 22nd, with the follow- 
ing principals: 

Marion Sunshine, Irene Olsen, Ben Mulvey, 
Genevieve Markham, Frank Tinney, Harry 
Mayo, Guy Robertson, Rollin Grimes, ar.d 
Georgia O'Ramey. Book by Guy Bolton 
and Oscar Hammerstein. Music by Herbert 
Stothart. 

(Continued on page 268) 



[228] 



THEATRE MAGAZINE. OCTOBER. 19tt 



Portrait by E. O. Hoppe of London 



Clown Studies by Sherril Schell 




HE WHO ALSO GETS SLAPPED 

il Sydney A New and Fine Interpreter of Andreyev's Clown-Aristocrat 

[229] 



Kempy 



A Comedy in Three Acts by J. C. Nugent and Elliott Nugent 

'T'HIS gay and very human comedy contains all the ingredients calculated to make a mid-summer audience 

' forget the heat and settle down to an evening's enjoyment of fine characterizations, clever lines, humor, 

surprises and good acting. An interesting feature of the production is that its authors, who are father and son, 

both play leading characters in its present production on Broadway. The following condensation is printed here 

through the courtesy of Richard C. Herndon and the authors. 



THE CAST 

(As produced by Mr. Richard G. Herndon at 
the Belmont Theatre.) 

Ruth Bence *"'*> Nu S ent 

"Dad" Bence J- C. Nugent 

"Ma" Bence Jessie Crommette 

Jane Wade Helen Carew 

Katherine Bence Lotus Robb 

Ben Wade Robert Lee Allen 

"Kempy" James Elliott Nugent 

"Duke" Merrill Grant Mitchell 

THE scene throughout the play is laid in 
the living room of an old fashioned house 
in a small New Jersey city. The room 
has been lived in by the same family for many 
years, the furniture looks used and comfortable, 
and there are obvious attempts on the part 
of the younger generation to off-set the 
cherished but bad oil paintings with a 
few things in good taste. 

At the rise of the curtain Dad is sitting 
in his armchair, figuring in a note book. 
Ruth is at the piano singing and Ma is 
looking at "views" through a stereoscope. 

"Dad" Bence, a retired manufacturer, 
is sharp eyed and sharp tongued, but has 
a deep vein of kindness under all his 
gruffness. 

"Ma" Bence is a sweet, gray haired 
mother, a little vague about the movement 
of the newer world. Ruth, the youngest 
daughter, is quick witted, whimsical, and 
has an elfin prettiness. 



MA: I'll bet Kate ordered some things home 

from New York. . . . 

DAD: . . . Don't sign for them till we see 

what they are. 

MA: Why, they're for Kate. (Ruth enters 

with load of boxes and bundles. Jane follows 

with another box.) . . . They're for that house 

party at Atlantic City. 

DAD: I told her she could get one dress. 

JANE: But Duke Merrill is down at Atlantic City. 

DAD: That don't give her the right to buy the 

store out. ... I may make her send them 

back! . . . 

MA: Oh, Pa, you wouldn't do that. You'd 

break the child's heart. 




White 



RUTH: Don't wear your hat in the house, 
Daddy. 

DAD: (Indicating open door.) My head 
gets cold. 

MA: My, it's nice to get the work done early 
and sit down a minute. . . . Your hat looks 
awful in the house! 

DAD: (Snappily.) Looks just the same out- 
side. 

Jane enters, having just run across the lawn 
from her own house. She is good looking, hearty 
an4 talkative, a natural product of her middle 
class environment, and conscious of her inde- 
pendence as the only married daughter of the 
house. 

JANE: Hello, Ma, is Kate home yet? 
MA: ... It isn't train time yet. 
JANE: It gets so lonesome with Ben away at 
Atlantic City. 

DAD: (Growling.) What's he doing there? 
JANE: You know, at the Shriners' Convention. 
DAD: Always at conventions! 
JANE: Well, Duke Merrill asked him along 
in his car when he went through here and 
they hadn't met since Duke went away . . . 
DAD: (Without looking up.) It'll cost five dol- 
lars to get that pipe fixed in the kitchen. 
(Doorbell rings.) 

JANE: (Glancina out window.) It's the ex- 
pressman. 



ACT I. 

DAD: Why the dickens didn't you go to the back door? 
KEMPY: Why the dickens didn't you say so? 



DAD: Child! She's past twenty-five. Acts 
like ten! 

JANE: Ruth's the one that ought to have some 
new dresses. She hasn't had a thing this sum- 
mer except her graduation dress. . . . You 
won't even send her away to school. ... I 
know how it is. I had to put up with it till 
I got married. . . . 

DAD: Oh, don't be so huffy! You know Kate's 
running me into debt head over heels! 
RUTH: (Looking out window.) Oh, there's 
Kate. The bus is driving away! 
DAD: Bus! Twenty-five cents more! 

Kate enters. She has the impatient, youthful 
enthusiasms of a clever girl born in a common- 
place environment. She is pretty, with a bub- 
bling personality that makes her the favorite 
of the family in spite of their disapproval of 
her ever varying ambitions. She kisses every- 
body Dad glaring at her new clothes. 

KATE: (To Ruth.) Did my other things come 
yet? . . . Those big stores are so obliging 
when you have a charge account! Father, I 
am so proud of your name when I want to buy 
anything. They just look you up and give me 
anything I want. . . . It's nice to get home, 



but it seems dark in here! Everything is so 

bright in New York, after this old run down 

barn! . . . 

DAD: How much are them bundles? 

KATE: (To Jane and Ma.) THEM! (To Dad.) 

Those ! Say "those." Gracious, I'm discouraged 

about ever writing any more when I hear the 

grammar of this family. 

DAD: Sorry you're ashamed of us, but your 

pride don't pay the bills! 

KATE: (With blazing eyes.) Well, it may 

pay them yet! . . . 

DAD: How much was them those dresses? 

KATE: (Sarcastically.) Them those dresses 
were . . . not over eleven hundred for all. 
DAD: It's no use. I've got to sell out. 
KATE: And I must go to Atlantic City 
tomorrow .... 

JANE: Oh, isn't he going to stay for the 
house party? 
KATE: Who? 
JANE: Duke, of course. 
KATE: Duke wasn't to be at the house 
party. I didn't even know he was in 
Atlantic City. . . . 

DAD: Didn't you buy them dresses for 
Duke? ... I'd like to know what you 
did buy them for. 

KATE: You'll know soon enough. . . . 
My chance is coming. (Exits upstairs.) 
JANE: Father, you're not modern. Ben 
never noticed me until I got that outfit 
from New York. 

DAD: Then what do you eep on dress- 
ing expensive for after ju've got him? 
JANE: That's what I got him for. . . . 
You know Kate isn't just like the rest of us. 
MA: No, she wrote that book. 
DAD: That's what ruined her! . . . 
JANE: Not any more than her painting and 
interior decoration and singing. 
DAD: And elocution! And getting her hair 
bobbed ! 

JANE: And pantomine! That's what she's tak- 
ing now. . . . 

RUTH: Oh, well, she learned nursing too Don't 
forget that. She cured your rheumatism. 
Daddy. . . . 

DAD: Yes, she was worse than the rheumatism ! 
MA: Oh, Kate would settle down and be 
happy if she was married. Her mistake was 
in refusing Duke that time two years ago. . . . 
RUTH: Now, Daddy, you know you wouldn't 
want to marry a man if he had no money. 
DAD: I would if I knew he was going to 
make it. A girl's got to learn to judge a man. 
But Kate's got no judgment never did have 
never will have. Wasn't for her I wouldn't 
have to sell this house. . . . 

Ben Wade enters. He is the typical Ameri- 
can small town business man, brisk, slangy, 
always a "good fellow,'' and with all the char- 
acteristics of the type who has been "on the 



[230] 



THEATRE MAGAZINE, OCTOBER. 192* 




In "East Lynne" in Portland, aged 16 




White 



As the dope fiend in "Eyes of Youth" 




"Little Johnny Jones" in Salt Lake City 




t 

As "Camille" in Spokane, aged 13 




Aped a 

Her most recent role Jenny in 
"The Goldfish" 



White 



As the palmist in "The Fortune Teller" 




As Juanita in "The Rose of the Rancho" 
(Motif by Lyman Brown) 



"Master Willie Hewes" in Los Angelei 



BIOGRAPHICAL PAGES -No. 1. MARJORIE RAMBEAU 

Miss Rambeau was born in San Francisco, California. She went on the stage at the age of nine, appearing in "The Girl and the Tramp" in Oakland. At thirteen 
she was playing "Camille" in repertory in Spokane and subsequently played stock with Morosco and others in Portland, Los Angeles, Salt Lake City and elsewhere. 
She made her New York debut in "So Much For So Much" in December, 1914, and since has achieved great personal success in numerous star roles 

[231] 



road." Dad discusses with Ben the sale of the 
house and gives him a signed option for the 
property. Jane tells Ben that Kate is going to 
Atlantic City and will doubtless meet Duke 
Merrill. 

BEN: Why, he'll be here ... on his way to 

New York. I asked Duke to stop off here and 

see Jane. 

MA: Surely he'll stop in and see us. 

BEN: Well, you know he and Kate haven't 

met since 

DAD: He's coming here! Then all that damn 
dress money is wasted ! 

Doorbell rings and, thinking it is Duke, the 
women rush upstairs to tell Kate. Ben opens 
the door and Kempy James appears, a wrench 
in his hand. He is a good looking boy of 
twenty, with a frank ingenuous manner, but 
easily flares into boyish anger. 

KEMPY: I came from Hargers to fix the 

pipe in the kitchen. 

DAD: (In fierce disappointment.) Why 

the dickens didn't you go to the back 

door? 

KEMPY: Why the dickens didn't you 

say so ? 

DAD: Tramping on the carpet with your 

muddy feet. 

KEMPY: My feet are not muddy. If 

you want that pipe fixed I'm here to 

do it. 

DAD: Well go to the back door. 

KEMPY: I went there first, and there's 

no one there. 

DAD: Them your working clothes? 

KEMPY: No, I'm to see what's to be done 

and then go back and get the stuff and 

come back. 

DAD: And charge full time while you're 

changing clothes, I suppose. 

KEMPY: You can settle that with 

Harger. 

DAD: Harger's a thief! 

KEMPY: Settle that with him too. 

DAD: You're pretty sassy. 

KEMPY: No, I am not, Mr. Bence. I 

spoke to you civilly but I don't see that Wh 

I should stand for abuse for nothing. 

I'm not a plumber by trade, I'm an 

architect. 

DAD: If you're an architect, what are you 

plumbing for? 

KEMPY: . . . I'm working at it till I get some 

contracts in my own line. Can't afford to do 

nothing. 

BEN: Better stick to plumbing. It's the next 

graft to real estate. 

KEMPY: Thank you, sir. But I've made up my 

mind. (Turning to Dad.) I know what I'm 

going to be. 

DAD: You know a whole lot, it seems to me. 

Come on out . . . /'// see how much you know. 

KEMPY: I'll go around the back way if you 

wish. 

DAD: Yes, and charge up the time. Come 

on. . . . 

BEN: (Excitedly, looking out window.) There's 

Duke, and he's got his hand wrapped up as if 

it was hurt. 

DAD: ... Is that his car out there? 

BEN: Yes, and it's got the windshield busted. 

Must have had a smash up. ... 

BEN: Let's go over and see what's happened. 

Maybe we can get him over here. . . . (Dad 

and Ben exit.) 



Kempy stands looking after them bewildered, 
as Ruth comes down the stairs. 

RUTH: . . . Did you want to see someone? 

KEMPY: (Confused by the sudden vision of 

girlish loveliness.) Yes no I mean ... I 

came over to fix the plumbing . . . 

RUTH: Won't you sit down? 

KEMPY: It doesn't seem honest sitting down at 

four dollars an hour. 

RUTH: Oh, Daddy won't care. He's worth a 

hundred thousand dollars. 

Kempy tells her he learned plumbing in the 
army and wants to know all about it so he can be 
a good architect. He already has "an original plan 
for a church, with four steeples and a dome." 

RUTH: That sounds just like the church in my 
sister's book. (Getting book.) 




e ACT II. 

KATE makes a bold stand against DUKE on the sub- 
ject of her marriage to the bewildered KEMPY 

KEMPY: "Angle's Temptation". ... I got it 

in a Y. M. C. A. in France. The Y. M. C. A.'s 

over there were full of them. 

RUTH: We sent three hundred copies over 

there we needed more room in the attic. 

KEMPY: That's where I got my first idea 

from the description of that church in it. I 

made mine just opposite. 

RUTH: Oh, yes, the one in the book has four 

domes and a steeple. But I hope you build it 

your own way. 

KEMPY: Anything I build will be done my own 

way. . . . The heroine in this story said she 

would love a man who was always determined 

to get what he wanted. . . . 

Ruth tells him that her sister wrote the book, 
and shows him Kate's picture. 

KEMPY: Gee, she looks just like I thought she 
would. No, I believe you look more like I 
thought. She's older. 

Ruth directs Kempy to the kitchen, to look at 
the pipe. 



KATE: (Entering.) . . . Who were you talk- 
ing to down here? 

RUTH: Oh, the most wonderful man. . . . He 
read your book ... he said it inspired him 
and made him live his own life and get every- 
thing he wants! ... He said he got an idea 
from your book that made him a great archi- 
tect. . . . 

Kate runs upstairs as Duke enters, his wrist 
bound with a handkerchief. He is a very suc- 
cessful business man, rather distinctive looking, 
and has an assured but simple and natural 
manner, with a keen sense of humor. The 
family come in and gather around Duke, vainly 
trying to get the doctor on the telephone and 
finally calling Kate to bring her first aid kit. 
She is absolutely helpless, unable to find any- 
thing, and looks in her first aid books for 
'Rules." Meanwhile Ruth skillfully binds, up 
the wrist. Dad gets the family out of the 
way so Duke can talk to Kate alone. 

KATE: . . . You said things before that 
hurt a little more than I care to be hurt. 
DUKE: . . . I've spent two years re- 
gretting the way I put some things. . . . 
You won't find me so lacking in tact now. 
. . . I've grown in understanding. . . . 
KATE: . . . What a little thing we 
quarrelled over because I wanted an 
artistic career. ... I couldn't marry you 
when you had no faith in me. It was 
your telling me I had no talent that made 
me determined to show you I had. So 
I'm glad you've come back to me just 
now. . . . I've just got my chance . . . 
to express myself ... to prove to you 
and father and all of them that I'm not 
a failure . . . I'm going into musical 
comedy. 

DUKE: Good Lord! 

KATE: ... I met Oscar Sherman, the 
big manager, in New York at a party, 
and ... he said he had a part . . . 
just made for me. . . . My voice is good 
for musical comedy, Duke it's a little 
light for grand opera now I'm to go 
over to Atlantic City and rehearse with 
the company. I'm to meet Mr. Sherman 
at the Ambassador tomorrow. That's 
why I'm going over there! 
DUKE: Oh, my God! 

KATE: . . . Don't you think it's wonderful? 
DUKE: It's wonderful that I found it out in 
time to stop you. . . . This man Sherman is 
pretty well known . . . don't you see, you poor, 
silly girl, he's trying to make what he would 
call a date with you at Atlantic City. ... He 
doesn't even suppose that you took his story 
about the part seriously . . . you've had no 
experience, and you say it's a good part. You 
ought to know better you're twenty-five years 
old. . . . I'll tell you what we'll do you marry 
me first and when you show up with a husband 
. . . we'll see how strong you are with Mr. 
Oscar Sherman! 

KATE: Oh, that's beastly of you you think I 
have no talent! 

DUKE: You've had years to prove that you 
have talent, Kate you haven't any, dear you 
can't paint, or sing, or write in all this time 
you haven't produced one finished piece of 
work ! 

KATE: . . . How about my book ... I know 
it never sold but at least it was published! 
DUKE: (Who, unknown to Kate, had published 



[232] 



THEATRE MAGAZIIVE, OCTOBER, 1922 




Portraits by Apeda 



BOBBY CLARK 

Who, after years of clowning in circus rings the 
country over and further years of broad comedy in 
the burlesque houses of the Columbia Wheel, has 
come at last into recognition as a drole without 
equal. London has taken him to its arms these 
past few months, and he will soon bring his superb 
fun-making as a member of the desperately shabby- 
genteel to the gilded lists of the new Music Box 
Revue 




[233] 



her boot.) It was two thousand copies that 
was the big mistake! . . . 

KATE: ... Is that what you came back for, 
to discourage and insult me? 
DUKE: I'm telling you the truth because I love 
you, Kate, and I'm going to marry you ! . . . 
KATE: . . . You know my life in this house 
has become impossible . . . father is even 
threatening to sell this house, to humiliate us 
all! I suppose you think I must call to you 
for protection, at your terms! 
DUKE: Now you're talking wildly, Kate. . . . 
I'm sorry if you choose to misunderstand me. 
. . . Good night, Kate. I will see you to- 
morrow. (Exits.) 

Ruth enters, followed by Kempy, who stands 
diffident and abashed. 

RUTH: . . . He has something to tell you, 
Kate. It's awfully romantic. (Exits.) 
KATE: What do you want with me? 
KEMPY: (Diffident and bold alternately.} . , . 
You see I read "Angie's Temptation" and I 
am an architect and I swore once to find the 

girl that wrote that book and 

KATE: . . . Don't stammer and what? 

KEMPY: (Angrily.) And marry her that's 

what! 

KATE: (Wonderingly,} And marry her? 

KEMPY: Well, you needn't make fun of me. 

. . . I'm determined and I live my own life 

and I rule my own fate and I DON'T STAMMER ! 

KATE: You want to marry me? 

KEMPY: (Swallowing.) Y-yes. 

KATE: . . . Would you marry me NOW 

today right away within the hour, or half 

hour? 

KEMPY: Why well I 

KATE: Don't stammer! Would you? 

KEMPY: I'm not stammering yes! 

KATE: (Seizing coat.) How quickly can you 

take me to Williston, across the river? 

KEMPY: Well, I've got my Ford outside the 

boss's Ford but 

KATE: But what? Are you afraid? 

KEMPY: Yes, NO! 

KATE: Then don't stand there staring at me 

COME ON ! 

KEMPY: Gee whiz! (Follows her in daze.) 

ACT II. That evening. 

DAD: It's after nine o'clock wonder where the 
devil Kate went? . . . 

MA: Maybe Kate's run away and got mar- 
ried ! 

DAD: Who to? 

JANE: Why to Duke who would you im- 
agine? . . . 

(The telephone rings. Jane answers it.) 
JANE: . . . Kate's coming home she's mar- 
ried ! . . . Wanted me to tell you she was 
bringing her husband home . . . and she 
hoped father would remember s'ne was a mar- 
ried woman now and was to be treated as 
such . . . and . . . she wanted her husband 
treated with respect too. . . . 
DAD: Why, what is she talking about? We 
all like Duke, have liked him since he was a 
boy. . . . 

Jane runs home to get some fancy pillow 
cases, etc., for the guest room and Ma hurries 
to the kitchen to prepare some supper. Bell 
rings and Kate enters alone, calling "Come 
Kemp." He enters, smiling expectantly. 



DAD: What the devil are you doing here? 
KATE: Father, don't speak that way. This is 
my husband. 

Dad is stunned and sinks to sofa, calling 
for Ma. 

KATE: . . . Father, listen. . . ."This young 
man believes in me, that's more than anyone 
else ever did ; he's young and he is ambitious 
and he worships me. . . . Now, I'm free. I 




White 

ACT III. 

KEMPY: Will you keep my wrench for me? 
RrTH: Oh, thank you! 
KEMPY: You're welcome. 

have a name of my own, I have a husband . . . . 
We will make our own future somehow. . . . 
DAD: Where, what what became of where's 
Duke? . . . 
KEMPY: Who's Duke? 

KATE: Duke's a man that wanted to marry 
me and I refused him. . . . 
DAD: . . . Now listen I've put up with your 
darned idiotic foolishness long enough. Now 
you go upstairs to bed I want to talk to this 
plumber. . . . Do you think you can support 
her or do you expect me to support the both of 
you and perhaps more? . . . 
KEMPY: ... I hadn't figured on any MORE 
. . . it all happened so sudden! . . . / can 
take care of my wife. Come, Kate. 
KATE: Where? 

KEMPY: Why to the Central House, I guess. 
I know the clerk. ... I stop there and I'm 
paid up. 

DAD: I want to talk to this fellow now you 
go. (Kate exits.) 

DAD: . . . Why did you marry my daughter? 
KEMPY: (With cool, sweet frankness.) Be- 
cause I wanted her ever since I read her book. 
. . . I've always thought that a man can get 
what he wants if he tries, and it says so in 
Miss in what's her name in my wife's in 
Kate's book. . . . 

DAD: You get everything you want, eh? 
KEMPY: (Modestly.) About everything. 
DAD: Did you ever want to get MONEY? . . . 
KEMPY: Why, Kate said YOU had a hundred 

thousand dollars 

DAD: Oh, that's it! You thought you'd get 

THAT! 

KEMPY: No, . . . but I thought from the way 



you asked me ... that you wanted to borrow 
some. ... I'd loan it to you if I had it, on 
account of Kate. 

DAD: . . . I'm going to break this fool mar- 
riage and until its broken you will keep out of 
this house. 

KEMPY: . . I don't expect to stay in this 
house, and I haven't my things here anyhow. 
... I'd like to talk to Kate's mother to tell 
her I've been honorable. 

DAD: /'// have enough to tell her. . . . You 
always get what you want! Well, go and get 
a start in life and you can start now. (Opens 
door.) 

KEMPY: All right . . . but I'll be back for 
my wife in the- morning. (Exits.) 

Kate, Ruth and Ma enter. Dad goes to his 
room. 

MA: . . . This is terrible you married like 
this and your husband turned out of the house! 
If he stays at the Central House tonight it will 
be all over town ! . . 

Ruth runs out and returns with Kempy, who 
had just been standing outside. Ma goes in 
to try to pacify Dad. Kate tells Kempy that 
they will go to Atlantic City in the morning 
and that he must give up plumbing and become 
part of her life, her career. 

KEMPY: Maybe they won't want a husband 

around. 

KATE: Oh, you think so, do you? Well I'll 

show you and anybody else that thinks so that 

you're wrong, all of you. 

She telephones Western Union a message for 
Oscar Sherman at Atlantic City to the effect 
that she will arrive next day accompanied by 
her husband. Kempy objects to having his 
wife on the stage, they quarrel, and Kate runs 
upstairs to her room. 

RUTH: . . . Mr. James, you mustn't get 

angry and go away tonight. . . . You sleep here 

on the dog's bed. I have him in my room 

now, but this is his regular bed. . . . 

KEMPY: It would be lonesome and strange. 

RUTH: I'll bring the dog, if you'd rather. 

KEMPY: I believe I would, if it's all right with 

the dog. 

RUTH: Oh, he likes everyone I like. I'm sure 

Daddy would like you too if it wasn't for Duke. 

. . . He's worth a million. . . . 

KEMPY: . . . I've only got a dollar and a half. 

RUTH: (Admiringly.) But you always get 

what you want. 

KEMPY: I'm beginning to wonder if that's a 

good thing. Say, if they thought she married 

Duke, how will it prevent scandal for me to 

sleep with the dog? 

RUTH: They'll find out in the morning that 

it was you she married . . . and that father 

drove you out. 

Kempy goes to the Central House for his 
things. Meanwhile Duke and Ben enter, slightly- 
intoxicated. Duke wants to make up with 
Kate, and thinking the family are all over at 
Ben's house he tells him to go over and ask 
Kate to come and talk to him. Jane enters 
with the linen she had gone to fetch. 

JASE: My, but it was a shock when we heard 
you and Kati; had got married so suddenly! 

(Continued on page 260) 



[234] 



THKATRE MAGAZINE, OCTOBER, 1922 




Portrait by Nikolas Muray 



MARTHA LORBER 



Whose beauty almost Grecian in Its Chastity of Line -does something more than merely 
adorn the Ziegfeld Follies in Which She Heads the notable Ballet "The Frolicking Gods" 



[235] 



Adrift in the Roaring Forties 

Being a Monthly Page Out of the Notebook 



Of BENJAMIN DeCASSERES 



IN the conversations with M. Gsell with 
Anatole France the great French satirist 
is made to say that he has found all 
actors brainless. But why drag in actors, 
Anatole? Why should an actor have more 
brains than a popular writer, a president 
of any republic a lawyer, a painter or a 
magazine editor? 

Why do people expect actors to have 
brains when theirs is the only creative art 
in the world in which brains is not re- 
quired ? It is a purely imitative art. The 
actor is always conceiving his life in the 
terms of a role created by another. He 
succeeds in the degree that he puts an ex- 
tinguisher on his own personality. He is 
a mime not a thinker. Do we ask a 
Caruso to have brains and he had a 
Melba, a Jeritza, a Houdini, an Ed Wynn ? 

Then, again, what is "brains"? Every- 
body has brains but intelligence, that is 
another thing. There are very few intel- 
ligent people in the world. 

For instance, Henry Ford has brains ; 
Anatole France has intelligence. Bryan is 
brainy ; Governor Edwards of New Jersey 
is intelligent. Germany is brainy ; France 
is intellectual. Brains is a commodity; it 
can be cultivated. Intellect is something 
one is or is not born with. 

There are, of course, few intellectual 
actors or actresses. But as for brains, wit 
and mental smartness the actors and 
actresses I have met will compare with any 
other profession in the world, starting from 
the lowest, that of a Congressman. For 
your absolute dumbbells you will find them 
among doctors and lawyers and a certain 
class of college business men. 

Enfin, there is too much brains in the 
world, and not enough intelligence. 



I AM writing this in Atlantic City in the 
latter part of July. It will appear, I 
believe, in the October number of Theatre 
Magazine. So I feel like a man sitting 
right in front of the Broadway season. In 
looking over the papers I see this producer 
has returned from Europe with this, and 
that producer with that, and so-and-so is 
working on an adaptation of something or 
other from the German. Of something 
original by an American not a whisper, 
except from John Golden. Eugene O'Neill 
is going to do something, or has done some- 
thing (by the way, what has become of his 
"The Fountain"?). 

Europe raids our treasury ; we raid its 
stage. Let us cancel all their debts and 
call it even. The only thing, apparently, 
we have to give them is money and movies. 
They have given us everything in the in- 
tellectual world worth while. Can we ever 
pay our debt of culture to them? No. 
And they can't pay us the money they owe 
us. Then why not call it an even break? 



"IT HE American Drama League also 
voted on the five best American plays. 
In the lists that Mr. Eaton published in 
"The Tribune" I nowhere saw "The 
Tavern^' or "The^jiclJMjin." These Two" 
satires are among the best ever written. 
"The Bad Man" would go over one hun- 
dred per cent in Paris and maybe "The 
Tavern" would also. 

I believe that "The Bad Man" is the 
greatest satire ever put on the American 
stage by an American. It is Shavian in its 
irony. "The Tavern" is less perfect, but 
as a piece of fantastic satire it stands alone 
in Amercian literature. 

That the committee could vote for "JThe 
First/Year" and "Seven Keys to Baldpate" 
(both fine comedies) and disregard "The 
Tavern" and "The Bad Man" is to me 
well, there's simply no accounting for lack 
of taste. 



\A/HEN M. Gemier, director of the 
Odeon Theatre, in Paris, asked the 
Drama League of America what was the 
best American play, the committee (George 
Jean Nathan, the "Huck" Finn of critics, 
was not on this committee) handed him 
hark "Anna Christie," which M. Gemier 
will produce at his theatre. 

In the vote on the best five plays, 
O'Neill was always in the running. Ten 
years ago O'Neill would not have had a 
chance in such a contest. Which proves 
we are moving. O'Neill is to our drama 
what Ibsen was, to the Norwegian drama 
anil Strindberg to the Swedish drama. He 
is a great dramatic genius if ever there was 
one. 

Personally, had I been on the committee 
I would have voted for "The Hairy Ape." 
Judged by the usual standards "Anna 
Christie" is a more perfect play. But my 
standards are only my likes and dislikes. 
My "critical faculty" is merely the cold 
mirror of my prejudices. If I were sitting 
in the Odeon at a performance of "The 
Hairy Ape," I should rise out of my seat 
after the last curtain and shout, "An 
American did that! Sing 'The Star 
Spangled Banner' all of you!" And when 
I tell you that today I am not especially 
proud of being an American and don't 
want to hear the national air again until 
we regain our liberties you will understand 
what I feel about "The Hairy Ape." 



I YN HARDING has come forth as the 
champion of King Henry VIII, gen- 
erally regarded as the Landru of English 
sovereigns. Lyn tells us that King Hal 
was a great statesman, a theologian and a 
family man. 
> I personally made a study of the life of 




King Henry VIII when I was working on 
the titling and editing of the great German 
picture, "Deception." I was surprised to 
find what a Forward-Looker and Right- 
Thinker old Bluff King Hal was. Lyn 
doesn't do him justice. 

Henry did all in his power to save Anne 
Boleyn from the scaffold. He refused to 
eat or drink for many days after that inci- 
dent. 

Henry was in bed every night at nine 
o'clock and up at dawn. He always spent 
an hour before breakfast watering the ge- 
raniums in the castle window. 

He resurrected the ancient game of 
dominoes, and ordered it substituted at 
court for all games of chance. 

His afternoons were spent in readings 
from Marcus Aurelius, Seneca, Confucius 
and other ancient wise men. 

He personally taught his daughter, Eliza- 
beth (afterward the celebrated Queen of 
that name), the art of tatting. 

He was the first ruler known to history 
who opposed war as unchristian. 

He was the first monarch in all history 
to inveigh against bobbsd hair at court. 

He imitated Julius Caesar by drinking 
nothing stronger than barley water. 

If Lyn Harding will call en me I can 
give him other points on his new biography 
, of England's virgin king. 



\A7HEN will Casanova get on the stage? 
I have been lately reading a new 
life of this most fascinating and impenitent 
of all rascals. In his memoirs there is 
enough material for a Casanova cycle say, 
of about five dramas, depicting the famous 
Italian at various times in his life. 

He was one of the most extraordinary 
men that ever lived and he is immortal 
because he made vital and real our sup- 
pressed instincts. The great adventurer- 
romantic is always an immoralist. He does 
the thing we all fear to do. Casanova 
made life submit to him. The whole world 
moves through his pages. He made the 
legend of Don Juan a fact. He was Gil 
Bias, D'Artagnan, Machiavelli, Mcnte 
Cristo and "Huck" Finn rolled into one 
person. Here are meat and money for some 
playwright, producer and actor. 

And what a "movie" his life would 
make! 



[236] 



THEATRE MAGAZINE, OCTOBER, 1922 




G. Maillard Kesslere 

THE KEENE TWINS 
Here are Elizabeth and 
Margaret ( reading left and 
right we're told but no 
guaranty goes with this!) 
those wholly entrancing 
replicas of each other who 
are graduates of the Zieg- 
feld Follies magna cum 
laude and are at present en- 
gaged in shaking four clever 
feet in "Daffy-dill" 




EMMA HAIG 
This lithe straight young 
. person had the misfortune 
to tumble from her place 
on the stage of the Music 
Box and break her back by 
falling on a piccolo player. 
Happily she improves daily 
and will resume her post as 
premiere danseuse before 
many months are over 



Alfred Cheney Johnston 



A TRIO OF TERPSICHOREANS 
A Group of Talented Young Dancers who Help Make the White Way Gay 

[237] 



Why I Am Wonderful 



Pauline Pure Princess of the Picture Palaces Makes a Complete Disclosure of the Secrets of Her Greatness 

By BLAND JOHANESON 



IT is spring in Oil City, Pa. But the 
birds are mute, the breezes hushed, as 
out of the awed and anxious midnight 
flashes one radiant star, a symbol, fraught 
with prophecy. In the little cottage down 
by the railroad, Life's wondrous miracle is 
taking place: a motion picture actress is 
coming into the world. 

"Pretty Polly," the simple townsfolk 
were to call her, and "Pures' little Angel." 
Indeed it was no other, our own Pauline 
Pure. How well her name describes her. 

Protected from the disillusioning buffets 
of the theatre, in small schools and a shel- 
tered home, the star perfected her art, 
studying life among the plain and the good, 
backbone of the nation over which she now 
reigns. 

No, success did not come suddenly to 
this lovely young woman. Step by step, 
falteringly but with courage, she trod the 
weary road to fame, straining all her soul 
and heart toward the attainment of the 
place she now holds as supreme delineator 
of the sweet, maidenly characters which 
have made motion pictures an inspiration 
to countless thousands all over the country. 
And Pauline Pure is only twenty and still 
a child at heart. 

Even in her infancy, the baby genius was 
vaguely conscious of the art-urge impelling 
her toward her destiny. Sitting on the 
stoop waiting for her curls to dry and 
dreaming in the sunshine, now she was a 
fairy, now an angel, now a roguish elf. As 
the motley throng of spirit friends flitted 
through her brain, Polly would attempt 
to portray each fantastic little character. 
"Making faces," the hooligans of the block 
called it. How little did they reck. It is 
ever genius' sorry lot to be misunderstood. 

OWES ALL TO MOTHER 

AND Pauline Pure is a genius. The 
price she has had to pay has not b;en 
too great. She said so herself in the cozy 
tasteful little apartment where she received 
us one day last week and with her own 
dainty hands served us with tea and petits 
fours. 

The rosy glow from a pink piano lamp 
transforming her tawny hair into a veritable 
halo, her black robe etching her supple 
form upon the white bear rug on which 
she was reclining, the star was indeed a 
vision, shy, naive, wistful, bewitching. 

"How do you do it!" we gasped. 

"I owe it all to mother." Miss Pure 
flashed her captivating smile. "Indeed, 
were it not for mother I would never be 
what I am today, a star at twenty. Through 
the many long years of study and prepara- 
tion, never once did mother let me waver 
from my high resolve to be a really good 
motion picture actress. Sometimes when 
the road seemed too hard and success too 
uncertain I would hesitate and wish to 
take an easier course. But mother ever 



would steer me toward our goal. 'No, 
Pauline,' she would say, 'the stage is not 
for you. Broadway fame is not enough. 
Your art must reach a larger gallery. You 
must bring beauty into the lives of the 
masses. Yours is not merely a career, but 
a philanthropy.' " 

"How happy she must be to see her 
dreams realized," we commented as the 
star paused to drop four lumps of sugar 
into her fragile tea-cup. 

"Happy? Yes." She paused reflectively. 
"And I am fortunate. I do not regret the 
money I could have made in vaudeville. 
Then I'd have been only a performer. 
Now I am an artist. And soon my full 
ambition will be realized. For I am writ- 
ing and directing my next picture all by 
myself." 

CUCUMBERS RESPONSIBLE FOR BEAUTY 

YOU must be more than busy," we ob- 
served in awe. But the little lady of 
the screen is undaunted by the mass of 
work before her. 

"My writing is only a side-line," she 
explained. "When an inspiration comes I 
just jot it down. And I expect soon to 
publish my collection of epigrams. 

"My actual work begins at nine- 
thirty ' Here the star paused reflectively, 
and a mist settled upon her soulful violet 
orbs. "I wish you would say something 
about the quiet life I lead in Hollywood/' 
she said wistfully. "These reports one 
hears about our little colony are simply 
terrible. All of we artists are in bed by 
nine-thirty every night." 

Smiling sadly, she continued, "Dissipa- 
tion would soon play havoc with my beauty. 
Sleep and rest are my surest beauty pre- 
servatives." 

The star's complexion is even more 
dazzlingly lovely than it screens, if there 
can be comparative degrees of perfection. 

"What is your secret of beauty?" we 
asked. 

"Cucumbers," she answered. "Any 
woman can aspire to a skin as translucent, 
clear and unwrinkled as mine if she eats 
plenty of cucumbers. I have a large 
cucumber and a glass of milk each night 
before retiring. 

"To retain my lovely figure, I am tak- 
ing up dancing. I have a lesson every morn- 
ing. There is nothing so beneficial as 
starting the day with a split. I dance a 
greeting. to the sun or a welcome to the 
showers and I find the little aesthetic 
thought makes the dance of spiritual as 
well as physical value." 

Our admiration for this serious young 
woman was increasing with each new 
revelation. We confessed as much to her 
and she smiled sympathetically. "Dearie," 
she said in that friendly little way she has, 
"Art is a hard master, and success requires 
hard work. Dancing lessons aren't all I 



take. I am studying voice production as 
well, and as soon as I feel that I can 
spare the time from my career, I am going 
to Paris to let Jean DeReszke hear me 
sing. 

"That means that I must have my 
French and Italian lessons, and as I intend 
to specialize in Russian music, I soon will 
master that language also. 

"Then, too, I put in a lot of time de- 
signing my wardrobe." 

Miss Pure's exotic costumes long have 
been the despair of the Paris couturieres, 
and she acknowledged having created them 
all herself. 

"To be beautiful, I must make a study 
of my own beauty, trying with harmonious 
colors and sympathetic lines to accentuate 
it," the star declared. "Of course, this 
demands care and patience. But any really 
smart woman expects to devote some part 
of her time to the consideration of her 
gowning and the cultivation of a refined 
taste. Why, only recently I spent almost 
an entire day going from one jeweler's to 
another trying to find just the perfect pair 
of earrings to set off my tennis suit." 

KEEN ON THE AESTHETIC 

'"PHE star's rigid adherence to the laws of 
J- harmony does not stop here. When we 
commented upon the rich heliotrope with 
which the air of the apartment was red- 
olent, Miss Pure confessed, "I detest the 
vulgarity of the combination of scents, so 
I always have used nothing but heliotrope. 
My soap, sachet, extract, powder, all are 
identically perfumed. I have been told 
that heliotrope suggests the color of my 
eyes. And to further carry out that idea, 
I have had my car upholstered in the hue 
of this same flower." 

Indeed, not only her eyes, but all the in- 
toxicating sweetness of this star's person- 
ality is suggested by this rich bloom. She 
is a heliotrope. 

Every man, woman and child in the 
motion picture colony testifies to Pauline 
Pure's unselfish interest in her art. She is 
glad to give a helping hand to any talented 
young aspirant who approaches her. Often 
she relinquishes the biggest scenes in her 
pictures to an actress who has shown un- 
usual ability. The camera-men, the car- 
penters, all the workmen about her studio 
adore her. She has a kind word and a 
loving smile for each one. Indeed, she 
even remembers the names of their wives 
and the birthdays of their children. 

"And what," we asked, preparing to 
leave, "do you do with the little leisure you 
allow yourself? What recreation do you 
enjoy? How do you relax at the close of 
the strenuous day you devote to your art?" 

And flashing her enthralling smile, this 
ambitious young woman answered : "In 
my spare time I read Bernard Shaw. I 
love his sense of humor." 



[238] -I 



May Vokes 



THEATRE MAGAZINE, OCTOBER, 1922 



An Interesting Chat with the Theatre's Most Famous Maid-of -all-Work 

By CAROL BIRD 



WOULD that I were beautiful!" she 
said, and her head, with its crown 
of tiny curl papers shook dolefully, 
as she stared into the dressing room 
mirror before her and beheld the "Lizzie" 
who, during the two year run of "The 
Bat" on Broadway, as well as for many 
years before, has brought laughter to Broad- 
way with her silly, grimacing face and 
foolish-servant-girl ways. 

"Would that I were beautiful!" she re- 
peated, "but the kind fairies decided other- 
wise, and I suppose it's something to my 
credit that I decided not to overcome their 
decision but accept it fully and whole- 
heartedly. I have made a stock in trade 
of my looks, and I have come in time to 
believe that one can have almost as much 
fun homely as beautiful, if one will only 
reconcile oneself to the necessity for doing 
so." 

May Vokes chuckled and started to untie 
the black bow that dangled from the back 
of her straight brown hair. 

"Do you know, shortly after I started 
playing these silly-girl roles, I racked my 
brain trying to determine just exactly what 
it was my audiences found so funny in me. 
I decided that it was a psychological 
phenomenon. People believed that I was 
attractive in real life an intellectual, per- 
haps and their risibilities were tickled by 
the thought of this sharp contrast : a beauti- 
ful, cultured, intellectual actress, portray- 
ing homely, silly servant girls. That was 
it! I became certain that I was right. I 
certainly hate to think of exploding their 
self-deception by busting right out into 
print with the black truth!" 

FROM CONVENT TO STAGE 

AGAIN she chuckled. The thought of 
the expose amused her. Many things 
amuse this comedienne. She has a sense of 
humor, a buoyant spirit and she is in love 
with life. You tell her that you believe 
her natural gaiety and effervescence are re- 
sponsible for her success in comedy. 

"Perhaps being happy all the time does 
help me on the stage," she agrees. "I manu- 
facture most of my stage business accord- 
ing to my moods, and I certainly do feel 
light-hearted most of the time. When I hop 
nimbly around the stage, and snicker and 
giggle, and shriek, I actually feel like doing 
all those things. It may be very juvenile 
and school-girlish, I will admit, but when 
a person feels blithe and jolly, you've just 
got to let go a bit or, well bust." 

You interrupt to ask Miss Vokes to go 
back to the first role of the Lizzie and 
Tillie type she ever delineated for all her 
roles are cut off the same bolt. She crinkles 
up her nose, and confesses that she doesn't 
like to go back across the years. 

"It's too long a time," she admits. "Let 
me start with some of the last roles I've 
played. No? Well, my role in 'My 



Friend From India,' was the first of its 
kind. I won't say just when that play was 
produced. In going back to the beginning, 
I might as well tell you that my convent 
life was indirectly responsible for me being 
launched into the profession, and comedy 
work, in particular. Don't look so skep- 
tical ! I know that an overwhelmingly 
large number of actresses and chorus girls 
seem to emerge from convents, but I assure 
you that I really attended one. In those 
days the nuns looked with horror on the 
theatrical profession as a career for any 
girl. However, a num- 
ber of the girls at the 
convent were permitted 
to give an amateur per- 
formance I believe it 
was a benefit for some 
worthy cause. I was 
only a spectator at re- 
hearsals, but the coach 
suddenly looked up at 
me, and then ordered 
me to interpolate a little 
run or jig in back of one 
of the leading characters 
in the cast. I didn't try 
especially to be funny, 
but I must have acted 
funny just the same. 
They laughed at me, 
and the coach kept me 
in the sketch. 

"Sometime after that 
when a number of the 
girls had left the con- 
vent we attended a new 
dramatic school in Chi- 
cago. While there we 
learned that one of our 
convent chums was 
playing with a stock 
company. She still re- 
membered my little 
dance, or run, or jig, or 
whatever it could be 
called, in the convent 
play, told her manager 
about it, and he sent for 
me. I was soon launched 
as a comedienne. I have 
been Tillies, and Julias, 
and Lizzies, and Min- 
nies ever since the same 
nonsensical, frittering, 
foolish servant girls. Sometimes my role 
starts out to be slim and inconsequential. 
I build it up a bit on my own initiative, 
and then, little by little it is padded and 
made more important than perhaps even 
the author originally intended it to be. In 
the beginning every one helped me a bit. 
It was like building a house. Some one 
in the profession would offer a suggestion 
as to a new line, a new piece of business, 
an original gesture, and even friends out- 
side the profession helped. But I guess I 

[241] 




alone am responsible for the voice, and its 
tricks. Perhaps it's just as well that I 
don't blame that on some one else. Some- 
times when I find myself listening to my 
own voice in some of its querulous whin- 
ing moments on the stage, I wonder why 
people cannot help but laugh at the sound 
of it. But I won't use it differently, for, 
it's gone over in all the past years, so why 
meddle with something that's proved 
effective? 

"No, I don't mind always being cast as 
a willy-nilly, silly little nobody, in un- 
attractive make-up, as 
long as I prove amusing. 
I admit that a mirthful 
audience sends me into 
an ecstacy of pleasure. 
I love to make people 
laugh ; I'm happy to 
realize that I'm draw- 
ing people out .of them- 
selves for a while mak- 
ing them forget the 
things they want to for- 
get, even if only momen- 
tarily. But I'll admit 
that sometimes I wish 
that I could have a role 
not all comedy, but just 
shaded with a bit of 
pathos. I wish that I 
could feel that back of 
the laughs that I pro- 
voke there are tears. I 
wish that some day I 
might have a part which 
would make people 
laugh, perhaps, but 
quickly follow up their 
laughs with a sympa- 
thetic remark, such as: 

'Poor little Devil! 
She has a pretty hard 
time of it.' " 

After Miss Vokes ad- 
mits that she was the 
one who launched the 
once popular song, "I'm 
Afraid to Go Home In 
The Dark," and remin- 
nisces a little about her 
various roles in "The 
Quaker Girl/' "A Pair 
of S i x e s," "Good 
Gracious, Annabelle," 
"A Knight for a Day," "A Fool and His 
Money," "When Dreams Come True," 
and "Checkers," she refuses to further dis- 
cuss her "Pig-Tail-Tillie" roles as she calls 
them. 

"I want to talk about my new home," 
she pleads and then launches into a dis- 
cussion of the charming apartment which 
she has made her hobby. 

"And why not?" she asks, "Where else 
can an actress find surcease from excite- 
ment?" 



I were beautiful !' 



HEARD ON BROADWAY 

Stories and News Straight from the Inside of the Theatre World 



Told by 




L'Homme Qui Sait 



HERE'S an odd one that came to ray attention for the first time the 
other day. On the program of all the JOHN GOLDEN-WIN- 
CHELL SMITH attractions the name George Spelvin is invariably 
listed. But there's no such person. It's merely an imaginary name 
always used for good luck ! 



Bang! went VALESKA SURRAT out of the cast of "Spice of 1922." I 
happened to be behind the scenes at the time the rumpus occurred. The 
squabble took place between Miss Surrat and the unfortunate publicity 
man for the show, who had not billed Miss Surrat to her liking. So are 
things in the world theatrical ! The size of the type in which an actress's 
name appears can apparently determine her enthusiasm for a part. 

THE BELLIGERENT DALY 

talking of scraps, the one over which ARNOLD DALY left his 
latest manager, Joseph M. Gaites, was about something even more 
trivial. I seem to be in on those things these days. The thing started 
during a rehearsal of "The Monster" when Director LAWRENCE 
MARSTON suggested some trivial change in the business for one of the 
characters. Daly, who was in something of a huff due to a quarrel he had 
just emerged from with the stage-door man, said to Marston: "See here, 
I want this play played as I read the manuscript. I will not have any 
changes. The manuscript that I read is what I am going to play. Not 
another play." Marston insisted, however, as any director would, on his 
direction being carried out, and the character under instruction (FRANK 
McCORMACK, by-the-bye), did as he was told. Immediately after 
rehearsal Daly telephoned Manager Gaites and demanded Marston's 
discharge and a written apology from McCormack for what he had 
deemed the latter's insolence under the circumstances. Mr. Gaites flatly 
refused, Daly banged down the receiver, and that chapter in the annals 
of the American Theatre was closed! 



LAURETTE TAYLOR is now filming "Peg O' My Heart." 



Producers as a rule are afraid to send their productions to the Coast; 
yet JANE COWL, ETHEL BARRYMORE, and both the Chicago and 
San Carlo Opera Companies did a marvelous business last year. The 
West will respond generously if given the original company, as has been 
proved. 



It is rumored that SAMUEL SHIPMAN is writing a play around MRS. 
HENRY B. HARRIS. With such a delightful and interesting character 
who couldn't write a successful play. BUT who will play Mrs. Harris? 

THIRTY-SIX CHANGES IN CAST 

f ANGERINE" went merrily on for twelve months at the Casino Theatre 
with JULIA SANDERSON always as its brightest star, but very few 
people know that there were about thirty-six changes in the cast during 
its New York run. 



JOSEPHINE VICTOR took a plunge into vaudeville last year, playing 
all the principal cities from the Atlantic to the Pacific Coast. She was 



supposed to lay off the week before Christmas, but at the last moment 
was hastened to Omaha from Minneapolis. The management of the 
Omaha Theatre had not had time to have special announcements made 
up, with the result that there was a large sign in front of the theatre 
with only half of the previous week's advertising painted out, the lower 
half remaining the same. When Miss Victor arrived at the theatre this 
was what greeted her: 

JOSEPHINE VICTOR 

Hine's Trained Donkey 



BINGHAM STRONG ON RADIO CIRCUIT 

AMELIA BINGHAM is strongly enthroned in the hearts of the Ameri- 
can people. Just recently she talked through the Westinghouse 
Electric radio, and received more letters in response than any other 
public luminary that has talked thus far. 



WILLIAM H. CRANE and his wife are living at the Hollywood Hotel 
in Los Angeles. One day his telephone rang and the casting director of 
a certain moving picture studio spoke to the famous star: "I hear you 
are a pretty good character actor. We have four character bits in the 
picture we're just shooting, why don't you come over and try one of 
them?" Mr. Crane's answer is not reported! 



Despite numerous offers the stage will lose MARY HAY, otherwise 
known as Mrs. Richard Barthelmess, until the spring. Miss Hay has 
just recovered from a serious illness that has necessitated this long 
vacation. 



WILLETTE KERSHAW, PEGGY O'NEIL, EDITH DAY, and 
DOROTHY DICKSON are four American girls who have scored deci- 
sive hits in London. 

PEACE SIGNED 

'J 1 HE booking facilities will be much better this year, for the MESSRS. 
SHUBERT and MR. ERLANGER have agreed not to strangle each 
other's attractions with strong opposition in cities with only two first 
class theatres, in other words, not to book the Follies and a Winter 
Garden attraction in the same city the same week, but attractions of as 
much contrast as possible. 



When POLA NEGRI comes to this country this year to start work for 
the Famous Players, she will have GEORGE FITZMAURICE as her" 
director. 



HELEN REIMER, who gives such a delightful performance as Tillie 
in "Partners Again," is the only actress that ever had a contract on a 
solid gold plate. Miss Reimer was a member of the Keith Stock in 
Providence for twenty-two years, and after her twentieth year was given 
a life long contract in gold. 



It is not generally known that LOUIS WOLHEIM, who gave such a 
rejnarkably natural performance of "The Hairy Ape" is a jiotedTinguistT" 
Mr. Wolheim has adapted several foreign plays for American production. 



[242] 



THEATRE MAGAZINE, OCTOBER, 1922 



Enid Bennett as Maid Marian 
and Douglas Fairbanks in the 
itle role of "Robin Hood" 




One of the striking castle in 
teriors in the coming Fairbanks 
production of "Robin Hood" 



Frank Diem 

Carol Dempster as the heroine 
of a new D. W. Griffith offer- 
ing "One Exciting Night" 



Henry Hull once again the 
harassed hero of a melodrama 
in "One Exciting Night" 






TWO IMPORTANT NEW PICTURES 
Griffith and Fairbanks Contribute Further Classics to the List of New Films 

[243] 



MARION DAVIES has started filming Guy Bolton's "Adam and Eva." 
T. ROY BARNES will appear in the other title role, and others in the 
cast are: LUELLA GEER, WILLIAM MORRIS, EDWARD DOUGLAS, 
EDITH SHAYNE, and AMY SUMMERS. 



"The Bat" one of the greatest hits New York has ever known, ran well 
into its third year on Broadway and closed with the original scenery 
intact. Wagenhals and Kemper, the producers of -the play, were super- 
stitious about getting a new production. 



Strange to say there are no really new theatres opening this year. But 
what a marvelous transformation there is in the Gaiety and Fulton 
Theatres. They are really like new especially the Fulton, EDWARD 
ROYCE'S masterful hand being in evidence, both in front and behind 
the footlights. 

THE PUBLICITY RECORD HOLDERS 

W HAT will DOUGLAS FAIRBANKS and MARY PICKFORD get 
publicity on next? First it was their own marriage, then the mar- 
riage of brother JACK and MARILYN MILLER, and now one of the 
most marvelous pictures yet screened "Robin Hood." 



ROBERT AMES won the Actor's Golf Tournament 
at Westbury, defeating Otto Kruger and Frank 
Crummit. Oscar Shaw acted as Judge. 



^SIDNEY BLACKMER is one young actor for whom 
everyone predicts a marvelous future. And why not? 
Here is one artist -who works every spare moment. 
He's been abroad, studying art. MARY ELLIS is 
another youngster who deserves credit. Immediately 
upon signing to play Nerissa in Mr. Belasco's pro- 
duction of "The Merchant of Venice," she hastened 
away to learn some of the fundamentals of the art of 
acting in Stuart Walker's stock company before going 
under the guiding hand of the dean of the profession. 



It is rather interesting to note the changes in the names of the various 
theatres in New York. For instance, the G.arrick used to be Harrigan's; 
the Park, Majestic; Sam Harris, Candler, as well as the Cohan and 
Harris; Republic, Belasco; Belasco, Stuyvesant ; 48th St., William Col- 
lier's; Frazee, Lew Field's, Hackett, and the Harris Theatre; Belrnont. 
Norworth; 39th St., Nazimova's; Nora Bayes, 44th St. Roof. 

LINA ABARBANELL, known for her work here in "Madame Sherry," 
"Flora Bella," "The Merry Window," and "The Grand Duke," is playing 
Gilda Veresi's "Enter Madame" in Berlin. 



MRS. HENRY B. HARRIS now has a competitor. For years she has 
been the only successful woman manager, but now ANN NICHOLS has 

entered the field. Mrs. Harris not only manages plays but two theatres 
while Miss Nichols not only manages plays but writes them. 

PEGGY WOOD BACK 

PEGGY WOOD has just returned from France where she has been 
receiving vocal treatments under the supervision of MME. EMMA 
CALVE. 



Last year brought back to us one great actress and personality MRS. 
^LESLIE CARTER this year we are to have three: ELEANORA DUSE, 
who will open her season at the Auditorium in Chicago; MARIE 
TEMPEST in "The Serpent's Tooth" by Arthur Richman at the Little 
Theatre, and the third, only a report, another "Farewell Tour" of 
BERNHARDT. 



The more stars the production gathered to itself the bigger the theatre 
offered was the experience of the "Spice of 1922" organization. ARMAN 
KALIZ conceived the idea. With VALESKA SURRAT, MOLLIE KING 
HAL SKELLY, FRANK FAY, and CHARLES PURCELL as possibilities' 
of a cast, the Punch and Judy Theatre was the proposed playhouse' with 
the addition of BESSIE McCOY DAVIS, the Earl Carrol Theatre was 
the one; with the addition of ADELE ROWLAND and JAMES HUSSEY 
the Astor Theatre was sought; and finally with the addition of about sixty 
players the Winter Garden was achieved. 



"From Morn to Midnight" is the only Theatre Guild production origi- 
nally put on only for "Special" matinees, which proved popular enough to 
occupy a theatre for regular performances. 



GEORGE M. COHAN wrote the book, lyrics and music for "Pretty Nelly 
Kelly." 



Vaudeville patrons will be surfeited with headliners this year. For the 
Keith and Shubert variety houses, in nearly every big city, there is an 
overabundance of talent. The principal Shubert headliners are: GER- 
TRUDE HOFFMAN, LEW FIELDS and JOE WEBER, BLANCHE 
FUNG and CHARLES WINNINGER, VERA MICHELENATjIMMY 
HUSSEY, JOHNNY DOOLEY, WATSON SISTERS, and BESSIE Mc- 
COY DAVIS. The principal Keith headliners include: FRITZI SCHEFF, 
LIONEL ATWILL, FANNY BRICE, LOT TELLEGEN. IRENE 
FRANKLIN, RAYMOND HITCHCOCK, and VAN & SCHENK. 




What must it feel like to be a movie idol? Los Angeles women won't 
leave RUDOLPH VALENTINO alone. It is a common occurrence to see 
. 3_iDob calmly promenading through the main thoroughfares, with the 
much beloved Rodolpho smothered in its center. And, when he leaves 
the studio, it is a puzzle to find his car, so completely is it hidden by the 
mob of admirers. 



COMSTOCK AGAIN IN LISTS 

Neither ELIZABETH MARBURY nor F. RAY COM- 
STOCK, the originators of the Princess Theatre 
musical comedies, has been active in stage production 
for some time. Recently it was reported that Mr. 
Comstock would return this year to the managerial 
ring with a new comedy from the pen of Guy Bolton 
called "Polly Preferred," and that Miss Marbury 
would sponsor "The Front Seat," by Rida Johnson 
Young. Confirmation has already been received from 
Mr. Comstock, but there is still watchful waiting so 
far as Miss Marbury is concerned. 



With this sudden vogue for colored entertainment, WILLIAM HARRIS, 
JR., should revive "Sazzus Matassus" which first brought Fay Bainter 
int. i prominence in the East. 



Will MAUDE ADAMS ever return to the footlights? is a question that 
is constantly being asked. JtjiJiot generally known that Booth Tarking- 

jon wrote "The Intimate Stranger" for Miss Adams, but even he could 
not lure her back last season. Meantime she is experimenting in her own 

.specially equipped studio in Schenectady, with a view to cinema repro- 
duction in color. Bearing in mind the gorgeous color and lighting 
effects produced by Miss Adams in working out her own ideas in "A 
Kiss for Cinderella," we may well possess our souls in patience that 
the cinema world may benefit by her experiments. 



POWERS BEHIND THE THRONE 

J)O these people ever get much credit for helping an author MAKE his 
play possible, an actor successful, and a producer famous? JOHN 
.MURRAY ANDERSON. CLIFFORD BROOK, WILLIAM COLLIER, 
JOHN CROMWELL, DAVID BURTON, AUGUSTIN DUNCAN, 
OSCAR EAGLL, SAM FORREST, WILLIAM H. GILMORE, IRA 
HARDS, BERTRAM HARRISON, J. C. HUFFMAN, FRED LATHAM 
_LESTER LONERGAN, EDGAR MAcGREGOR, GEORGE MARION, 
LAWRENCE MARSTON, JOHN McKEE, ROBERT__MII.TONi 
JULIAN MITCHELL. PRIESTLEY MORRISON7~ID^~"PAYNE,' 
WILLIAM H. POST, FRANK REICHER, EDWARD ROYCK CYRIL 
SCOTT, OTTO KRUGER, HASSARD SHORT. FRANKLYN UNDER- 
WOOD, NED WAYBURN, and WALTER WILSON. They are the 
directors of the American Theatre. 



Half of the success of FRED STONE is due to the fact that he is always 
planning and doing something new. In every new play he has, Mr. 
Stone does some new specialty, such as acrobatic feats, shooting or lariat 
throwing. His make-ups are always interesting and legitimately amusing 
from the Scarecrow in "The Wizard of Oz" to the Indian in "Tip Top " 
This summer he staged a Society circus which met with great success 
In fact everything Mr. Stone has a hand in seems to be successful his 
daughters recent appearance with him, being no exception to the rule 



[244] 



THEATRE MAGAZINE, OCTOBER. 1922 



THE AMATEUR STAGE 

Edited by M. E. KEHOE 



" 




"The Old Man of Eden," by Paul Greene, a melodrama of the 

Carolina Coast ( Edenton, N. C.) , of Colonial times, with 

setting by Elizabeth A. Lay of the Carolina Playmakers 



THE FOLK PLAYS OF THE 



CAROLINA PLAYMAKERS 





(Above) 

A scene from '"The Reaping/' 
hy John Terry, with the tra- 
ditional negro mammy, reminU- 
rcni r the "old South," play- 
ing an important part. "The 
Reaping 1 ' is a play of social 
problem with North Carolina 
of today as its setting. Kath- 
erine Batts is shown as Janey. 
the wife, and Mabel Bacon as 
Mammy, the Servant 



"In Uixon's Kitchen," a romance of country life in North Carolina, by Wilbur Stout 
in collaboration with Ellen Lay, with Le Grand Evere'.t, Jr., as Hiram Dixon; Ellen 
Lay, as Ma Dixon, his wife; Annie Lee, their daughter, George Winston and Thornton 
Gholson, their sons; Lloyd Williams, as Lemuel Isley, a friend. The characters are 
all well known to the authors, who dedicated the play to the real Annie Lee, and to 
all others who have been courting in the country, with the perplexing problem of 
Little Brother to contend with 



[245] 



Folk Playmaking 

By FREDERICK H. KOCH 
Founder of The Dakota Playmakers and The Carolina Playmakers 



THE Carolina Folk-Plays suggest the 
beginnings of a new native Theatre. 
They are pioneer plays of North 
Carolina life. The stories and characters 
are drawn by the writers from their own 
tradition, and from their observation of the 
lives of their own people. 

They are wholly native simple plays of 
the locality, of common experience and of 
common interest. North Carolina is rich 
in legends and in historical incident ; she is 
rich too in the variety and virility of her 
present-day life. There is in these plays 
something of the tang of the Carolina soil. 
There is something of the isolation of her 
mountains and their sheltering coves ; some- 
thing of the sun and the wind of the farm 
lands; of the shadowy thickets of Scuffle- 
town Swamp; something, too, of the lone- 
liness of the lives of the fisherfolk on the 
shifting banks of Nags Head or Cape 
Lookout. 

They were written by sons and daughters 
of Carolina, at Chapel Hill, the seat of the 
State University. They have been pro- 
duced with enthusiasm and success by The 
Carolina Playmakers in their own town 
and in many towns all over the State. The 
Carolina Playmakers is a group of ama- 
teurs amateurs in the original and full 
sense of the word devoted to the estab- 
lishment of a theatre of co-operative folk- 
arts. Not a single cloth has been painted 
by an outsider. Everything has been de- 
signed and made in the home town in a 
truly communal way. 

To be sure they are plays of a single 
section, of a single state, North Carolina. 
But they have a wider significance. We 
know that if we speak for the human nature 
in our own neighborhood we shall be ex- 
pressing for all. The locality, if it be truly 
interpreted, is the only universal. It has 
been so in all lasting literature. And in 
every locality all over America, as here in 
North Carolina today, there is the need 
and the striving for a fresh expression of 
our common folk life. 

THE BEGINNINGS IN NORTH DAKOTA 

'J'HE North Carolina plays represent the 
cumulation of years of experiment. The 
beginnings at the University of North 
Dakota, located at Grand Forks, were 
simple enough. It is now sixteen years 
since the writer made the first "barn- 
storming" tour, in 1906, over the treeless 
levels of Dakota with a company of uni- 
versity players. The play was Richard 
Brinsley Sheridan's admirable comedy, 
"The Rivals," to be followed in succeed- 
ing tours with such old favorites as Gold- 
smith's "She Stoops to Conquer," Dickens' 
"Tom Pinch," and Sheridan Knowles' 
"The Love Chase." In this way the 
ground was cleared and made ready for a 
peoples' drama of sound foundations. 
A remarkable development of dramatic 

* "Dakotan Discoveries in Dual Dramaturgy,*' by H: 



interest followed, and an enthusiastic 
fellowship of players was formed. It grew, 
and became in good time a flourishing so- 
ciety of play-makers The Dakota Play- 
makers pledged to the production of 
native plays of their prairie country. 

Two different types of drama developed 
naturally the pageant, a distinctly com- 
munal form enlisting actively all the peo- 
ple ; and the folk-play, an intimate por- 
trayal of the life and character of the peo- 
ple of the plains. 

THE FIRST BANKSIDE THEATRE" 

TN the Dakota pageantry a new form of 

creative literary work was evolved 
communal authorship. The historical 
"Pageant of the North-West," in 1914, 
and the tercentenary masque, "Shakespeare, 
'The Playmaker," in 1916, were designed 
and written entirely dialogue, poetry, and 
music by a group of these amateur Play- 
makers in collaboration, eighteen in the 
first case and twenty in the second. And 
the published play-books proved that the 
people themselves, when rightly directed, 
could create their own dramatic forms, in 
phrase, "filled with liveliness and humor, 
and with no little imagination" in a co- 
operative native drama "never amateurish 
and sometimes reaching a high literary 
level." 

Such production required a theatre in 
the open. There was no hill-slope and, 
by the necessity of the prairie land, a new 
type of nature theatre was discovered. So 
the Bankside Theatre came to be "the 
first open-air theatre to make use of the 
natural curve of a stream to separate the 
stage from the amphitheatre"*, and a con- 
tribution was made of permanent value 
in the history of the out-door stage. 

In succeeding years of this renaissance 
for such, indeed, it proved to be The 
Dakota Playmakers carried out over the 
State their new-found means of dramatic 
expression, directing the country people in 
many parts of North Dakota in the writ- 
ing and staging of pageants and plays of 
their own local traditions. 

At the same time The Playmakers at 
the university were busy writing for their 
improvised "Play-Stage" a variety of sim- 
ple folk-plays portraying scenes of ranch 
and farm life, adventures of the frontier 
settlers, incidents of the cowboy trails. 



Typical of these prairie plays, perhaps, 
is "Barley Beards," by Howard DeLong, 
who was born of French homesteaders in 
a sod shanty forty miles from the railroad. 
"Barley Beards" "deals with an I. W. W. 
riot in a North Dakota threshing crew 
and is based on young DeLong's experi- 
ences on a Dakota wheat farm at harvest 
time. The author himself designed and 
painted the scenery, and acted a leading 
part in his play. 

Other one-act pieces of this type are : 
"Back on the Old Farm," by Arthur 
Cloetingh, suggesting the futility of the 
"high-brow" education when it goes back 
to the country home at Long Prairie ; 
"Dakota Dick," by Harold Wylie, a 
comedy of the Bad Lands of the frontier 
days; and "Me an' Bill," by Ben Sherman 
of Judith Basin, Montana, a tragedy of 
the "loony" sheepherder, well known to 
the playwright, and his love of the lonely 
shepherd's life on the great plains. 

Such are the country folk-plays of 
Dakota simple plays, sometimes crude, but 
always near to the good, strong, wind- 
swept soil. They tell of the long bitter 
winters in the little sod shanty. But they 
sing, too, of the springtime of unflecked sun- 
shine, of the wilderness gay with wild roses, 
of the fenceless fields welling over with lark 
song! They are plays of the travail and 
the achievement of a pioneer people. 

THE CAROLINA PLAYMAKERS 



they toured the State with their 
new-made Prairie Plays using a simple 
portable stage of their own devising. And 
the people in the towns visited received 
them with wonder and enthusiasm. They 
knew them for their own, and were honest- 
ly proud and happy about it. Everybody 
said, "Come again, and we'll give you a 
bigger audience next time!" The little 
folk-play had found its own. 

ram K. Moderwell, in The Boston Evening Transcript, 
[246] 



CAROLINA extends more 
than five hundred miles from the great 
Smoky Mountains on the western border 
to the treacherous shoals of Hatteras. In 
the backhands of these mountains and 
among the dunes of the shifting coast line 
may be found "neighborhoods" where the 
customs of the first English settlers still 
prevail, where folk-tales still survive in 
words and phrase long since obsolete to us, 
handed down by word of mouth from one 
generation to another through all the years 
of their isolation. 

And in North Carolina, too, we have the 
ballads and the lore of an outlived past' 
side by side with the new life of the pres- 
ent day. Here are still the fine old families 
of the first Cavaliers and the children of 
the plantation days of the Old South. In 
contrast with these is the dreary "one- 
horse" farm of the poor white tenant and 
the shiftless negro. In greater contrast, 
perhaps, is the .toil of the thousands of 
workers at the roaring mills. 

North Carolina is still without large 
cities, and a strong folk-consciousness per- 
sists. The state is still regarded by the 
people as a family of "folks", due to the 
fact that the population is almost pure 
Anglo Saxon and still remarkably homo- 
genous. For all the changing industrial 
conditions less than two per cent, of the 

(Continued on page 270) 
September 30, 1916. 



THEATRE MAGAZINE, OCTOBER. J922 




An amusing scene from 
"Checkmate," Malcolm I .1 
I'r.i.l.- - C b e 1 1 Burlesque 
which was received with in- 
stant approval and enthu- 
siasm by both the Faculty 
and the student body of 
Washington Square College. 
Under the direction of Ran- 
dolph Somerville, the play 
was given an inexpensive 
but effective setting, the use 
of screens decorated with 
the chest characters, giving 
the necessary atmosphere. 
The Washington Square 
Players will produce the 
third of a series of six of 
La Prade's chess plays 
"The Queen's Gambit," in 
October 



Checkmate 

A Burlesque in Rhyme 



By Malcolm LaPrade 

All rights reserved by the Author 
First Performance by the Washington Square College Players of the New York University, December 17th, 1921 






PERSONS IN THE PLAY 

THE WHITE KING THE WHITE QUEEN 
THE KING'S PAWN THE RED QUEEN 

SCENE, THE CHESS BOARD. 

Floor cloth of large black and white squares 
and a background of black velvet curtains. 
Costumes of the Elizabethan period, bearing a 
slight resemblance to chess men. 
The King is a gentleman of fifty, rather 
scrawny and somewhat the worse for wear. The 
White Queen, his ivife, is a stout lady of an 
exceedingly irascible disposition. The Red 
Queen is a charming lady of thirty, coquettish 
to a degree and extremely self-assured. A lady 
with a past as well as a future. The Pawn 
is a simple lad of twenty, trustful and without 
guile. 

The lines should be spoken in burlesque of the 
classic style, but with great attention to the 
rhyme. 

AT RISE. 

The King, a worried expression on his face, 
paces agitatedly up and down, glancing now 
and then at a piece of lavender note paper 
which he holds in his hand. The Pawn stands 
near by watching him curiously. 

PAWN 

What hath befallen, Sire, thou seemest grieved? 

KING 
Forsooth, small wonder, sir! 

PAWN 
Hast thou received sad tidings? 

KING (Pausing.) 

Aye, a lady cometh here this afternoon A lady 
whom I fear 

May by some word unwittingly inflame 
The temper of my estimable dame. 
Alack, alack! (He resumes his pacing.) 



PAWN 

And is there aught between 

Ye twain to rouse suspicion in the Queen? 

KING 

Indeed, sir, since my consort groweth stout 
I scarce may greet a slender maid without 
Arousing her suspicion! 

PAWN (Shocked.) 
Say not so! 

Such base mistrust twixt wedded folk? No, no, 
That were to set at naught the marriage vow! 

KING 

It bindeth not the lean to fat, I trow! 
Such strain no bond endureth! 

PAWN 

Tell me, pray, 
Why doth this lady seek, My Liege today? 

KING 

Ah, woe betide me, Sirrah, I suspect 
The heartless creature cometh to collect. 

PAWN (Astonished.) 
Collect? 

KING 
E'en so. 

PAWN 

How cam'st thou in her debt? 
KING (Approaches Pawn and speaks confiden- 
tially.) 

A momentary weakness, I regret 
But harken to this letter she hath writ 
And mark how she doth let me in for it. (Reads.) 
"Dear Daddy: I have ordered me a cloak, 
The Russian Sable one, of which I spoke 
Last Tuesday Eve when thou did'st promise me 
A little gift in memory of thee. 
I find no words to thank thee for this boon! 
P.S. I'll bring the bill this afternoon." 

(He crumples up the note and looks helplessly 
at the Pawn.) 

[247] 



PAWN 
Can'st not contrive to give the jade the slip? 

KING 

This time methinks she hath me on the hip, 
And cometh here prepared to make a scene. 
If I refuse to pay she'll tell the Queen. 

PAWN 

Thou hast the money? 



KING 



Nay, sir, not a cent! 

PAWN 

Wilt touch thy wife? 

KING 
Aye, such is my intent. 

PAWN 

She'll scarce be sympathetic to a loan 

Of any sum, for purposes unknown. 

What wilt thou say, Mv Liege, and how explain? 

KING 

I shall devise some method to obtain 
Her purse, and borrow fifty crowns without 
Recourse to explanation. 

PAWN 

Aye, no doubt 

That were the safer way could'st thou evade 

Her watchful eye. 

KING 
I must enlist thine aid. 

PAWN (Bowing.) 
Command me. 

KING 

Thou shalt mount the stairs unseen, 
And enter in the chamber of the Queen 
Whilst I detain her here. Her velvet bag 
Is in the dresser drawer. Secure the swag 
(Continued on page 275) 



Community Dramatic Activities 

By ETHEL ARMES 
Of Community Service, Incorporated 



TO have scenes from Longfellow's 
"Evangeline," dramatized in Louisi- 
ana on the banks of the Teche itself, 
by descendants of the very Acadians exiled 
from Nova Scotia who actually found set- 
tlement there, "far to the southward," is 
indeed a striking event in the annals of 
American pageantry. 

It sounds almost too picturesque to be 
true. Yet it all happened as a matter of 
fact during the past summer in the Iberia 
Parish Pageant given by the people of New 
Iberia, Louisiana, under the auspices of 
Community Service. 

According to historic records, it was here 
in the beautiful valley of the Teche this 
"Eden of Louisiana" that a 
large number of the one time 
farmers of Grand Pre set- 
tled, became planters and 
herdsmen and their sons, voy- 
ageurs, trappers, traders and 
coureurs des bois. Their chil- 
dren and their children's 
children dwelt here where, 
"Beautiful is the land with its 
prairies and forests of fruit 
trees." 

According to Longfellow's 
poem, close by the Bayou 
Teche lived Gabriel's father, 
Basil the blacksmith, now be- 
come Basil the herdsman : 
"Near to the bank of the 

river, o'ershadowed by oaks 

from whose branches 
Garlands of Spanish moss and 

of mystic mistletoe flaunted, 
Such as the Druids cut down 

with golden hatchets at 

Yuletide, 
Stood secluded and still, the house of the 

herdsman." 

THE EVANGELINE CHARACTERS 

A LL of the chief characters in the poem : 
Basil, Gabriel, Evangeline, Father Feli- 
cien, Michael the fiddler and a whole host 
of the folks of Acadie, men, women and 
children, played their parts against this 
haunted, mystic background. The stage 
was curtained by the Spanish moss. Be- 
yond it shone the waters of the Bayou. 

Gabriel Lajeunesse, sick at heart from 
the long enforced separation from Evan- 
geline, leaves the herdsman's house in the 
valley of the Teche and all his kith and 
kin in their new found home: "weary with 
waiting, unhappy and restless. . . . 

Sought in the Western wilds oblivion 
of self and of sorrow." 

With his hunter and trapper comrades, 
Gabriel, played by Albert Hill, turns the 
prow of his light swift boat northward "to 
the land of the bison and beaver." 

Thus, in the pageant the scene is given 



true. In the twilight Gabriel's boat passes 
another boat which is hidden behind a 
screen of palmettos and willows. In this 
boat Evangeline lies sleeping. So Gabriel 
passed "to be blown by the blast of fate 
like a dead leaf over the desert." 

Long after the voyageurs have disap- 
peared around the curve of the bayou the 
Acadian girl awakes: "O, Father Felicien! 
Something says in my heart that near me 
Gabriel wanders. Is it a foolish dream?" 

Evangeline's part was taken by Rita 
Blanchet, one of the loveliest girls in all 
Iberia. Wearing the Norman cap and 
homespun kirtle, of the period, black velvet 
bodice, snow white apron and fichu, with 
her rich hair in two long braids, this young 
girl with no theatrical training or profes- 




On the banks of the Teche. in the Parish of Iberia. La., the descendants 
of the Acadian exiles from Nova Scotia, dramatized scenes from 
Longfellow's "EvangeTine," in a bewitching setting of moss-hung trees 



sional background whatsoever, yet held by 
her simplicity and sweetness and by the 
strength and beauty of her interpretation 
the attention of 10,000 people. 

The part of Basil was taken by the 
Baptist minister, Rev. S. D. Rob;rts. 

Father Joseph, of Iberia, a beloved 
Catholic pastor of the Teche today, played 
the part of Father Felicien, Evangeline's 
guide, "the faithful priest, consoling and 

blessing and cheering, 
Like unto shipwrecked Paul on Mel- 
ita's desolate seashore." 

How still it was in the pageant when 
Evangeline and Father Felicien with the 
wistful group of Grand Pre folk came 
ashore ! 

"Slowly they entered the Teche, where it 
flows thru the green Opelousas 

And thru the amber air, above the crest 
of the woodland, 

Saw a column of smoke that arose from a 
neighboring dwelling; 

Sounds of a horn they heard, and the dis- 
tant lowing of cattle." 



_ HORSEMAN loomed out of the 
forest. Who should the horseman be, 
but Gabriel's father, Basil the blacksmith! 
Then what a tumult and shouting of de- 
light from all the other Grand Pre neigh- 
bors and dear friends who last had seen 
the figure of Evangeline on the Nova 
Scotian shore, kneeling beside her dying 
father as the flames ate up their homes and 
the savage ships bore them into the un- 
known ! They had never dreamed to see 
Evangeline again or their beloved Father 
Felicien. 

Michael the fiddler, "our brave Acadian 
minstrel" played his gayest tunes. Every- 
one was enraptured. Then, like a shaft of 
lightning out of a clear sky to Evangeline 
came the word of Gabriel's departure 
the day before! 

"Gone? Is Gabriel gone?" 

The people who saw it 
played say they can never for- 
get it. It was no wonder 
that people in Louisiana 
wanted it done all over again. 

If Iberia could give it every 
year just this alone in more 
and more perfect form it 
would indeed mean a great 
gift to the nation. 

gESIDES the pageant of 
the early Acadian settle- 
ment and of Evangeline which 
followed a vivid picture of the 
early Indian life of that sec- 
tion, the other episodes of this 
Fourth of July Community 
celebration led through vari- 
ous trails of Iberia's history: 
the arrival of the planters 
after the Battle of New Orleans, old time 
dances, manners, customs ; the period of 
the War Between the States. 

The following committees had complete 
charge of preparing and presenting the 
pageant: H. D. Schubert of Community 
Service, General Director ; Theda B. Mur- 
ray, Pageant Director; Inez DeBlanc, Di- 
rector of Dancing; Clet Girard, Chairman 
of Music; Mary Brigand, Pianist. Indian 
Episode: Alma Sharp, Chairman; Mrs. 
Fred Patout, C. M. Bahon, Harold Kahn; 
French and Spanish Episode: Mrs. Clet 
Girard, Chairman ; Theda B. Murray, 
Henri Blanchet ; Acadian and Evangeline 
Episode : Carrie Moss Pharr, Chairman ; 
E. J. Carstens, George J. Cousins, Jr., 
Rita Blanchet; First American Settlers: 
Pearl Davis, Chairman ; Ethel Carver, E. 
P. Roy, Albert Hill; 1861 Period: Amelia 
Pharr, Chairman; Francis Simon, Mary 
Etta Murray; Spirit of Today: Rita M. 
Soulier, Chairman ; Maude Estorge, Car- 
rie Moss Pharr, Hon. Edwin LaSalle. 



[248] 



THEATRE MAGAZINE, OCTOBER, 1922 



Carlotta Monterey, as interpre- 
ter, shows us the new mode of 
the leather jacket, to be worn 
with separate skirts and some- 
what take the place of the fur 
jacket. This one is of the soft- 
est and most pliable suede in 
a rich red tone, with a very 
interesting kimona sleeve and 
a collar of black astrakhan. 
The hat that accompanies the 
jacket is in black and carries 
on the side one of the big 
smashing ribbon bows that are 
so much featured in the fall 
hats. 



Aa enchanting combination of 
tones and materials has been 
worked out in a semi-tricorne 
model, such as Miss Monterey 
wears. Brown satin covers the 
frame, and the edge is bound 
with a dull gold braid, of 
which the cockade is also 
made. Over the brim falls an 
edging of brown lace that hangs 
down in two long streamers to 
the waistline. 



MODELS FROM HOLLA NDER 



FASHION 



c4s Interpreted by 
the cActress 





Indicative of the latest lines in 
brims is this suede-covered hat 
on the new "burned-bread" 
shade of brown, its swirling 
coque plumes in a matching 
tone. Miss Monterey's frock 
was of black crepe, cross- 
stitched in while. 



We have seldom seen anything 
more charmingly practical than 
this cape which Hollander has 
imported. In three-quarter 
length, light yet warm, it is of 
black silk velvet, lined with 
gold plush. With it Miss 
Monterey is wearing the most 
engaging of small hat shapes, 
a rather vivid French blue felt 
with a ribbon and a long curl- 
ing feather in King bine. 



Nikolas Muray 



[249] 



KITTY GORDON IN THE LATEST FUR MODELS 



PROVES THAT THERE IS 



NOTHING WRONG 



IN THIS PICTURE 



w mink, when the skins are I 



Snowing ho 

as cleverly manipulated and the cut as 

skilfully effected as in this coat, ran have 

all the sumptuosity of sable. From A. 

Jaeckel & Co. 




Chinchilla seems just now in higher 
favor than ermine or sable for de luxe 
occasions, and from Gunther comes a 
gorgeous chinchilla evening wrap lined 
with blue and silver brocade 

(Left) A broadtail coat follows 
the prevailing fashion for panels, and 
adds to its slenderness by having two 
intriguing ones edged with black lynx, 
to swing free, or to be wrapped around 
the arms for further warmth. From 
Gunther 

Another of the new short jackets, cut 
so as to be very snug around the hip 
line. Gunther offers the model in 
sealskin with caracul and a slender 
composition belt of links of black and 
silver 



Ira L. Hill 




Short jackets of fur are to be very much 
the thing, and A. Jaeckel & Co. offer a 
stunning one in black Persian lamb trim- 
med with touches of scarlet and lines 
of small gold nail-heads 




[250] 



THEATRE MAGAZINE, OCTOBER, 19H 




Tornello Studios 



(Top left). A return to buckles is one of the distinct 
features of the new shoes, wherein we are now at one 
with Paris. A delightful combination has been effected 
here between an elaborate pair of buckles of cut steel, 
black suede vamps and heels, and patent leather backs 
and straps. 

( Lower left) . Quite a different type of shoe, but 
frightfully smart, is this of patent leather stitched on 
the sides in bisque and trimmed with a narrow piping 
of bisqne colored leather and crisp little rosettes of 
the black and bisque. The stockings embroidered in 
gay colored Czecho-SIovakian designs are an origina- 
tion of the Gotham Stripe Hosiery Company. 



SHOES FROM 



C. H. WOLFELT CO. 



DELLA VANNA OF THE 



GREENWICH VILLAGE FOLLIES 



(Top right). Another type of the elaborately buckled 

shoe in patent leather with an arrangement of straps 

that gives spring and grace and permits the showing of 

one's pet stocking through the interstices. 



( Center) . Shoes with an extraordinarily charming 
shape of vamp, topped and backed with grey suede. 



(Lower right) . For evening are these French mar- 
quise slippers with a heel of particularly graceful line, 
a novel trick to the straps and made up in brocade 
with mother-of-pearl tones. 



[251] 




Lucille Chalfont, of ihe Green- 
wich Village Follies, seated in 
the new model Standard 
Roadster. Several important 
changes have heen made in the 
Standard 1923 models, chief 
of which is the installation of 
an aeroplane lubricating sys- 
tern which means unfailing 
lubrication and low oil tem- 
perature even at high speeds. 



( Right) The owner of u new 
Hudson coach is to be envied 
especially if like this one he 
is situated near the shores of 
picturesque San Francisco bay. 
The Hudson coach is solidly 
constructed, easily seats five 
passengers, and costs less than 
$300 more than the open car. 



( Below) Barney Bernard alighting from his 

Cadillac Sedan at the stage entrance of the 

Selwyn Theatre, where he is co-starring with 

Alexander Carr in "Partners Again." 




PROMINENT STAGEFOLK AND 



TIIKIK CHOICE OF CARS. 



WOULD THEIR CHOICE BE 



YOUR CHOICE? 



[252] 



THEATRE MAGAZINE, OCTOBER, 1922 




Miss Mae Murray, whose last picture, 
"Broadway Road," is about to appear, 
and her Hudson Sedan. The photograph 
was taken in front of Miss Murray 's 
charming home at Great Neck, L. I. 

( Left) This is the striking car used 

by Pearl White during her stay in Paris. 

It is the new model Farman. 




* Right) Because Gilda Gray, of the Ziegfeld 
Follies, past master of the shimmy, chose to be 
photographed with her new Packard, we pre- 
sume it to be her favorite possibly because it 
is the latest acquisition. 

(Below) A close-up of Gilda Gray's garage 
which houses her four cars, a Stutz, a 
Packard, a Delage, and a Buick. This and 
the above picture have never been shown 
before, but we believe from now on they 
will figure in the catalogues of every dancing 
teacher, proving what dancing will do for you.- 




[253] 





The quiet simplicity and good taste shown in the treatment 

of the living room is characteristic of the house itself and 

all its environs 



"MILLSTRE AMS," THE 
CONNECTICUT HOME 
OF WINCHELL SMITH 



The Winchell Smiths, but recently returned 
from a continental tour, have opened their 
charming home on the Farmington River, Conn., 
where the co-author of that perennial success, 
"Lightnin' ", is hard at work on a new play, 
shortly to be produced on Broadway. 



It is entirely appropriate that a grandfather clock should 

stand guard at the head of this friendly Colonial stairway. 

A hall light that has all the attributes of the old-lime postern 

lamp does its bit too, to carry out the Colonial note 



[254] 



THEATRE MAGAZINE, OCTOBER. 1922 




The ascent to the house from 
the boat landing on the Farm- 
ington River is accomplished 
by means of steps fashioned of 
rough slabs of stone, set in the 
wooded hillside 



10 Winchell Smith's success to be wondered at with the inspiration of 
enchanting view of the Farmington River, from his study window? 



this 



[255] 



The Promenades of Angelina 

She Arrives at a Rehearsal of the Greenwich Village Follies by Way of Southampton 

Drawings by Art Snyder 




Ula Sharon, premiere danseuse of the 
G. V. Follies, just to be sure of keep- 
ing busy every minute at rehearsals, 
practiced tying herself into bowknots 

COMING up from Southampton, the 
other Monday, on that dreadful 
middle-of-the-night 7.40 "business 
special" ( . I always wonder, once aboard 
the lugger, how I ever managed to make 
it . ) Tubby introduced me to a swanky 
young Englishman we ran into on the 
platform . . They had been co-guests at 
a previous week-end . . Tubby 's always 
frightfully sweet about sharing his new 
friends and adventures with me, as you 
know, but he had an ulterior motive be- 
sides that morning. . 

He's exceedingly < ; />ra just at present 
of a young married woman much men- 
tioned in the society columns . . and she 
was going up on the same train, but her 
seat was in the car behind ours. So in- 
troducing the young Englishman to me it 
enabled Tubby to say, "Take my seat, 
old man, and talk to Angelina on the 
way up, I'll go and smoke" . . and 
then make his get-away . . Not quite 
so abruptly as that, though . . For 
the Y. E., after the courteous amount 
of protest, said, "Thank you so much. 
That's very kind of you" . . and 
Tubby said he wasn't so sure . 
Angelina was a very dangerous young 
person. . and when he (the Y. E., that 
is) got to New York and found his heart 
lost, and his peace of mind destroyed 
forever, perhaps he wouldn't think so 
kindly of what Tubby had done for 
him . . And then Tubby actually did 
depart, very pleased with himself at 
having fixed everything so nicely . . 
me taken care of and himself free to 
philander with his little affair . . I, all 
unaware of anything . . Oh, to be 
sure . . Nice old ostrich ! 

Of course, I was perfectly happy . . 
This was a particularly nice specimen of 



Englishman, looking awfully like David 
Powell . . And David Powell is the real 
love of my life . . I realize it anew every 
time I see him on the screen . . and forget 
it in the meantime, says Fanny . . How- 
ever, there's nothing like a screen love for 
"safety first," is there? I had just sighed 
over Powell at the Rivoli the week before 
in "Her Gilded Cage," with Gloria 
Swanson . . all too brief the scenes in 
which the handsome creature appeared . . 
and so was in a particularly amenable 
mood for his near-double. Funny, his 
nr\me, I learned later, was David, too . . 

We got on famously from the start . . 
Tubby 's remark reminded me of the "Dolly 
Dialogue" . . where Dolly Mickleham 
shows her new album, with its inscriptions, 
to Mr. Carter and asks him to add some- 
thing tender and appropriate, and he writes 
to the effect that "those who have cnce 
enjoyed the privilege of Lady Mickleham's 
society are unanimous in warning all others 
to forego it" . . And my vis-a-vis was 
delighted with the reference . . Fancy 
a person of your generation knowing the 
"Dolly Dialogues," he remarked . . and 
told me how he did two of them once 
with an English girl for some amateur thea- 
tricals down in Torquay at a house party. . 
and how effective they were . . "I always 
thought they would have gone profession- 
ally, too," he said. From that we talked 
of plays and the theatre in general . . 
Well, you can only keep me away from 
the subject for any length of time by shoot- 
ing me . . and then one-thing-led-to-an- 
other and I asked him if he would care 
to see a rehearsal of The Greenwich Village 
P'ollies on which I was going to look in 
that afternoon. "Splendid idea" . . "en- 
chanted" . . he returned. 

At the Pennsylvania Station, Tubby and 
his lady joined us and Tubby suggested 
a foursome for an early lunch at the 
Crillon. It was made unanimous . . So 
at 12.30 we all turned up promptly . . 
Tubby 's lady in a fetching costume com- 
pounded of a periwinkle blue crepe and a 



hat of "burnt bread" color, with the new 
touch of bronze pumps and big bronze 
buckles. Tubby really is nice . . He never 
insults one in his temporary apostasies by 
choosing tiresome and dowdy females to 
admire . . 

At the Crillon we tore off a jolly little 
lunch . . though the English David and 
I cut it short for the Follies, at the Park 
Theatre. 

Even so, we found the rehearsal in full 
swing . . Introduced to the good-looking 





The chorus displays its virtuosity even 
during the breathing spaces of the re- 
hearsal, stretching itself out at ease on a "prop" 
toes carelessly poised on the scenery 



with 



The Russian Alexander Yakevleff as 

dancer and ballet master is a feature 

of this new edition of the Greenwich 

Village Follies 

John Murray Anderson, its director, in 
working regalia of coat-off and a soft, 
white shirt with the sleeves rolled up and 
collar open at the throat we choose seats 
well down in the darkened auditorium near 
the front of the stage, to be in the midst of 
things . . and miss none of the witty quips 
and byplay that are always going on at 
such occasions . . 

The chorus is lined up in front of 
the footlights, around the piano, rehears- 
ing "The Cinderella Blues" . . the 
"tall-girls," as Anderson refers to them, 
on chairs . . and the "small-girls," the 
little flappers, with their rehearsing cos- 
tumes of knickerbockers of sorts and 
rolled stockings, hanging their bare knees 
over the edge of the stage. A collection 
of gorgeous girls, believe me ! Each, 
tall or small, an individual type! 
Murray Anderson claims never to en- 
gage anyone who looks in the least the 
stereotyped chorus girl . . and he has 
picked a most refreshing line-up to 
see . . 

There is the lovely Spanish girl . . 
and the beautiful tall and dark and 
slender Van Voorhees, a constant quan- 
tity in the Anderson productions . . 
and the fair and tall and slender Delia- 
(Continued on page 274) 



[256] 



THEATRE MAGAZINE, OCTOBER, 1922 



Where Barnum Went Wrong 

O 




|OR twenty years or so 
we've all been hearing 
Barnum's classic remark 

"The public likes to 

be fooled." 

The public has always enjoyed this 
biting comment, because it came from 
America's best loved showman. 

But probably many of us had our fin- 
gers crossed even as we nodded approval. 

* * # 

The past two years in the tire busi- 
ness has been a pretty good test of Bar- 
num's famous saying. 

If the public liked to be fooled, here 
was its heart's content. "Big Discounts" 
to the right. "Special Sales" to the left. 
"Bargains" on every corner. 

Certainly no man who kept his eyes 
and ears open missed seeing the attempt 
to fool thepublic by drawing its attention 
away from the essentials of real value. 

Why did car-owners refuse to lower 
their quality standards why did more 
people than ever go to quality tires? 

Especially U. S. Royal Cords, which 
they used more and more to measure the 
market when they wanted a test of value. 

* * * 

In one way of speaking, Royal Cord 
leadership grew out of the confusing 
conditions put upon the tire-buyer. 



Current prices on United States 
Passenger Car Tires and Tubes 
are not subject to Federal Ex- 
cise Tax, the tax having 
been included. 



United States Tires 
are Good Tires 



m 



m 



V * /; 

M 



Copyright 

1922 
U. S.Tire Co. 



The car-owner, being a practical per- 
son, as a rule, did the practical thing. 

He bought U. S. Royal Cord quality 
and stuck to it. 

The legitimate dealer lined up with 
the U. S. Royal Cord policy and 
stuck to it. 

The makers of Royal Cord Tires 
said "Go to a legitimate dealer" 
and stuck to it. 

* * * 

Perhaps Barnum intended 
his remark about the 
public to be taken 
with a grain of salt. 
Note that he al- 
ways gave his 
customers a 
whale of a 
money's 
worth. 



/ 






: : 



#*$$, 



H 

wj; 
$' 



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' 




SSA'lK 
*te"?f,.-: 
, 

fe-f-j- 






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to* **it& 

y^i^m 



i&'i 



?5^.2*;vsx^ 
3# 



m 



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'^v- a 



- ". 



U. S. Royal Card Tires 

United States H Rubber Company 



FiflV-llir 
Factorit 



. tree 
torifa 



The Oldest and Largest 
Rutbtr Organization in tht World 



Two hundred and 
MMta Branehel 



; 



LSsKi 



\ 



Wife 



** -JQ-. '"". '-^*i__ -' 

& .A-^ 

MS-.- - -< -*3 : '".. 



i 



[257] 




and the 



To appreciate the occasion 
suitable for wearing furs 
is indeed important. To 
appreciate furs suitable 
for the occasion is, how- 
ever, of far greater con- 
sequence. The many new 
Gunther models, em- 
bodying the latest style 
features, present a pleas- 
ing and varied selection- 
suitable for every occasion . 

Gunther 

Jiftfi Avenue at 36*Street 

NEW YORK 
Furriers for More Than a Century 



JAUNTS INTO BRIGHTEST ENGLAND 



(Concluded from page 213) 



eagerness in telling of Bernhardt, of 
Duse 

"Your famous comparison of the 
two." 

"And the curious aftermath. When 
I first saw Duse you may remember 
I wrote of the blush that overspread 
her cheek in a scene from the play. 
I went a few days later to see the 
same phenomenon. There was no 
blush." 

"The theatre today?" 

"A different class of audiences, my 
boy. The theatre is at a low ebb. 
During the war we found people go- 
ing to the theatre whose only amuse- 
ment hitherto had been cockfighting. 
All they could understand were the 
elemental humorous scenes. The re- 
sult is discouraging to the author and 
the actor but it is good for the peo- 
ple. By the next generation we may 
have a better audience. 

Another dash at reminiscence the 
Countess of Carlyle and Gilbert Mur- 
ray, both of whom appear in 
"Major Barbara," praise for Granville 
Barker's "The Madras House," in- 
quiry for Ernita Lascelles who played 
Eve in "Back to Methuselah" a very 
good actress a discussion of character 
actors and their limitations, tales of 
rehearsals a buoyancy of outlook 
that astounded. An amiable old man 
in an off hour of relaxation. 

"When I started writing I was in a 
difficult position. All the authors 
were writing children's stories, tales 
of adventure such as Stevenson's 
'Treasure Island.' There had been a 
definite swing to that sort of thing. 
It was not what I wanted to do and 
it was hard to get a start. Yet it 
gave me an individuality at once." 

"With the amount of drivel a 
dramatic critic must see, I wonder 
he can stand it. The only thing to 



do when he has had enough of it is to 
get out. Otherwise it is a ghastly life. 
The longest I ever kept at one job was 
as a music critic. I stuck it four 
years. Then I was fed up. 

"When I was rehearsing 'John Bull's 
Other Island' for the first time, Louis 
Calvert was playing Broadbent. Cal- 
vert then was a fine, classical actor 
and had not appeared before in a mod- 
ern role. He was much worried over 
his clothes and over the details of the 
part. I take notes at rehearsal sit in 
the auditorium and ordinarily have 
from 300 to 1000 suggestions, although 
one of my plays proved so extra- 
ordinarily difficult to produce that I 
took nearly 3000 notes and I told 
Calvert how to read some of the lines. 
'Certainly, Mr. Shaw,' he said, 'I'll 
read them that way but do you know, 
sir, you are forcing me to do the very 
things which undermine the founda- 
tional principles on which I have 
worked all my, life. Take such a line 
as 'Gentlemen, you must not force me 
to accept.' There are key words in 
it which I have been taught by my 
years of work in the theatre to em- 
phasize. Instead you want me to bel- 
low, 'Gentlemen,' then to place great 
stress on 'not' and 'to.' 'Precisely, Mr. 
Calvert,' I replied. 'When you do that 
you are not talking like an actor, you 
are speaking in the exact manner of 
an oratorical member of parliament.' " 

Shaw escapes portraiture. The 
human man does. I have no doubt 
he is a bitter satirist in a black mood 
all creative workers have dual na- 
tures. Only the great creative worker 
manages to keep outlook. It is some- 
thing to find the man whom the world 
thinks a slashing pessimist still an 
enthusiast. I wish Shaw would visit 
America. There is little hope. He is 
too canny. 




NEW BRUNSWICK RECORDS 



This month, Brunswick offers a very 
intriguing and comprehensive list. 
There is a piano recording by the 
renowned Leopold Godowsky which 
is a triumph of reproducing art, the 
Chopin "Polonaise Militaire," played 
with all the brilliance and impeccable 
technique for which this master is 
noted. On the reverse the same com- 
poser's "Waltz in E Flat" shows the 
pianist in more melting mood. 

Theo Karle's fresh young tenor voice 
has a very sympathetic vehicle in 
"Bonnie Wee Thing" and "Good- 
Night, Little Girl." 

The smell of honeysuckle and the 
charm of "days of long ago" are in 



Marie Tiffany's beautiful singing of 
"Darling Nellie Gray," the old song 
that never seems to lose its poignancy. 
On the reverse is "OP Car'lina," sung 
by Miss Tiffany and a trio. 

Marion Harris, now exclusively 
Brunswick, gives "Sweet Indiana 
Home" and "Blue" in the best Harris 
manner. This vaudeville headliner 
has a quality of voice and clarity of 
diction that are admirable. 

"Neath the South Sea Moon" and 
"My Rambler Rose" are contributed 
by Dorothy Jardon, and there are the 
three Brox Sisters doing "Kicky-Koo" 
and "Away Down South" in most 
amazing "indigoes." 



[258] 



THEATRE MAGAZINE, OCTOBER, 1922 







VA LAZE 

AGENTS, DEPOTS AND LICENSEES 



Atlanta, Ga. ; E. H. Cone, Inc. 
Akron, Ohio; The M. CVNeil Co. 
Baltimore. Md.; O'Neill & Co.. 

Inc. 

Baltimore, Md. ; Hutzler Bros. Co. 
Boston, Mass.; E.-T. Slaftery Co. 
Bridgeport, Ct.; D. M. Read Co. 

Brooklyn, N. Y. ; Abraham & 

Straus, Inc. 

Buffalo, N. Y.; \Vm. Hengerer Co. 
Chicago, 111.; Mandel Bros. 
Cincinnati, O.; The H. & S. 

Pogue Co. 
Cleveland, O. ; The Halle Bros. 

Co. 

Dallas, Texas; Sanger Bros., Inc. 
Denver, Colo. ; Daniel Fisher 

Stores Co. 

Detroit, Mich.; Geo. M. Schettler 
El Paso, Texas; Popular' Dry 

Goods Co. 
Ft. Worth, Texas; Sanger llros., 

Inc. 

Hartford, Ct.; G. Fox & Co.. Inc. 
Houston. Texas; Harris-Hahlo Co. 

Indianapolis, Ind. ; L. S. Ayres & 

Co.. Inc. 
Kansas City, Mo.; Emery-Bird 

Thayer D. G. Co. 
Kingston, N. Y. ; Rose-Gorman- 

Kose 
Los Angeles, Cal.; N. B. Black- 

stune Co. 
Memphis, Tenn. ; J. Goldsmith & 

Sons Co. 
Minneapolis, Minn.; The Dayton 

Co. 
Montgomery, Ala. ; H a m r i c k 

Drug Co. 



Nashville, Tenn.; Warnei Drug 
Co. 

New Haven, Ct.; Taft Pharmacy 

New Orleans, La.; Katz & Hes- 
thoff. Ltd. 

New York, N. Y.; Lord & Taylor 

Oklahoma City, Okla. ; Gloyd- 
Halliburton Co. 

Philadelphia, Pa.; Strawbridge 
& Clothier 

Philadelphia, Pa.; J. G. Darling- 
ton & Co., Inc. 

Pittsburg, Pa.; McCreery & Co. 

Providence, R. I.; Gladding Dry 
Goods Co. 

Richmond, Va.; Thalhimer Ilios. 
Rochester, N. Y.; The Paine 

Drug Co., Inc. 
Salt Lake City, Utah; Walker 

Bros. Dry Goods Co. 
San Antonio, Texas; Wolff & 

Marx Co. 

San Francisco, Cal.; City of 

Paris Dry Goods Co. 
Stamford, Ct.; The C. O. Miller 

Co. 
Springfield, Mass.; Albert Stei- 

ger Co. 
St. Louis. Mo.; Famous & Barr 

Co. 
St. Paul, Minn.; Field Schlick & 

Co. 
Toledo, O.; La Salle & Koch Co. 

Tulsa, Okla.; Halliburton-Abbott 

Co. 
Washington, D. C. ; Wardaian 

Park Pharmacy 

Washington, D. C. ; Lansburgh & 
Bro. 

Youngstown, O.; Strouss-Hirsh- 
berg Co. 



IN REGARD TO AGENTS 

In all cities ^vhere my Valasc Beauty Preparations are represented, I 
prefer my clients to purchase them direct and write to me should 
there be the need of advice regarding treatment. If not obtainable 
in your city, send me the name of the shop best qualified to represent 
me and I shall take much pleasure in establishing a Depot there. 




BEAUTT 

cannot always re/)? 

tiire afon& 




\V7HILE blind faith in Nature sentimentally appeals 
* * to one's sympathies the results invariably call on 
them! 

Progress has always meant combatting Nature to over- 
come, master and make Nature work. And Science is 
the vital force that makes man triumph every time. 

Helena Rubinstein 

World Celebrated Beauty Specialist 
and Complexion Expert 

the woman who in one quarter of a century devoted to scientific 
investigation and professional practice has established Beauty Cul- 
ture as a universally recognized Science strongly advocates these 
methods to make the skin fulfill the functions Nature intends, but 
so often fails to do. 

Once In Every Twenty-four Hours Apply 
Valaze Beautifying Skinfood If the Skin Is Oily 



This active cream tones, stimulates 
and strengthens the skin, removes 
sunburn, freckles, tan, corrects spots, 
blotches and skin disorders, keeps the 
skin youthful by promoting renewal 
of cells, whitens, clears, and makes 
certain the skin health upon which all 
real and lasting complexion beauty 
rests. 

Valaze Beautifying Skinfood, 

$1.25: $2.50 



If the Skin Is Dry, 

apply after the Valaze Beautifying 
Skinfood, Valaze Special Skin Toning 
Lotion, which gives suppleness and 
humidity, wards off wrinkles and lines, 
freshens, brightens and cleanses. 

Valaze Special Skin Toning Lotion, 

$2.25: $4.50 



after using Valaze Beautifying Skin- 
food according to the special directions 
that accompany it, press in Valaze 
Liquidine, which refines, reduces the 
size of the pores, corrects blackheads, 
removes all traces of shine, and im- 
mediately whitens to a lovely mat 
pallor. 



Valaze Liquidine 



$2.0O: $3.50 



If the Skin Is Wrinkled or Lined 

precede the application of Valaze 
Beautifying Skinfood by patting well 
with Valaze Roman Jelly, which tight- 
ens loose skin, replaces flabbiness by 
firm tension, smooths out lines and 
wrinkles, and rejuvenates in the 
speediest and most beautifying way. 

Valaze Roman Jelly $1.50: $3.00 



Valaze Scientific Beauty Treatments 

are given at the Salon Valaze a transplanted piece ol 1' with its fascinating, beauty- 
suggesting atmosphere to develop, preserve or rejuvenate beauty, or to correct any 
conceivable beauty flaw. Beauty Lessons also are given, at the small cost of $3.50, to 
enable you to carry out treatment correctly at home. Mme. Rub-nstein herself grants 
interviews, and advises personally upon your beauty problems, by letter. 



Upon request to Department T, Mme. Rubinstein's 
booklet "Secrets of Beauty" will be sent. 




Established 1897 
46 West 57th St., New York 



rf- Bratil- fa'aa- in 
London, New York and Paris 



Paris; 126 rue Fbg. St. Honore 
Atlantic City: 1515 Boardwalk 



London: 24 Grafton St., W. I. 
Chicago: 30 N. Michigan Ave. 




[259] 






JEK-L 

Furs . 



TRADE MARK 



of the most important 
considerations that should enter 
into your selection of furs is 
quality. Without quality there 
must be disappointment and loss. 

The above trade mark is your 
unfailing guarantee of quality, 
and this coupled with 
positive style authority 
and a decree of skill in 
workmanship that 
comes from a half cen- 
tury of manufacturing 
Furs exclusively. 

Then too, you buy here 
as economically as 
anywher-e where furs 
are sold. 

It pays to buy where 
you buy in safety 



A.JAECKEL&CO. 

Furriers 

Fifth AveBetweenSSft&SG* Sts,NewYork 



KEMPY 



(Continued from page 234) 



DUKE: ... Is somebody married 
around here? 

JANE: . . . You've been drinking! 
That's what Kate meant about want- 
ing you treated with respect! 

Ruth enters and explains the situa- 
tion, and says the bride and groom 
have already quarrelled. Jane hur- 
ries to Dad's room. Kempy enters. 

DUKE: . . . Kemp, this is a peculiar 
situation I'd like to understand it a 

little better 

KEMPY: Yes, so would I. 

DUKE: Perhaps by getting together 

we can work this thing out in the 

way you want it worked out. . . 

RUTH: Kemp always gets what he 

wants. 

KEMPY: Yes, I get it too easy. I 

wish 

DUKE: . . . What? That you hadn't 
married Kate? . . . You two don't 
agree very well? 

KEMPY: She's not reasonable. If she 
was anything like Ruth 

Duke sends Ruth to bed. He tells 
Kempy to assert himself and gives him 
a bill of sale for the house, purchased 
from Ben, in exchange for Kempy's 
church plans. Duke exits. 

DAD: (Entering.) What the devil 
are you doing here? 
KEMPY: What the devil are you do- 
ing here? 

KATE: (Appearing an stairs.) Father 
Kemp, don't quarrel. 
DAD: . . . You go to your room. 
KEMPY: She won't go to her room 
till I send her. She's my wife and 
she'll do what I say. 
DAD: . . . Not in my house! 
KEMPY: . . . It's my house and if 
you get fresh . . . I'll throw you out 
of it! ... This is MY house . . 
and I'm going to run it. . . . You 
either get back to bed or get out. 

Duke enters and proves the docu- 
ment is legal and that Kempy is the 
owner of the house. . . . 
KATE: . . . This is impossible! 
KEMPY: . . . You keep quiet. I'm 
going to take a husband's place around 
here and you've got to ... get sense ! 
. . . To protect my wife's name. 
... I must stay here tonight. . . . 
DUKE: And to prevent scandal, you. 
Mr. Bence, must also stay here to- 
night. 

DAD: Why the hell wouldn't I? 
KEMPY: None of that language be- 
fore my wife! . . . You can sleep 
here tonight, but I'll settle with you 
in the morning. . . . 
DAD: ... If the darned thing is 
legal, it don't give you no right to 
throw me out before I have my time 
to put my pants on! 
KEMPY: I'm not ordering you out. 
I'm telling you to go to bed! You've 
got no business anyhow running 



around undressed in front of my 
family! . . . 

DAD: Well, I'm damned. (Exits with 
Ma, Kempy sends Jane home.) 
KEMPY: (Sitting on couch ivit/i air 
of a job ivell done.) There! 

Ruth enters with dog, which she 
dumps on couch. 

DUKE: Ruth . . . kiss your brother- 
in-law good night. 
RUTH: I won't. 

DUKE: Better do it before he makes 
you. 

Ruth kisses Kempy on forehead. 
Duke, smiling, exits. Kempy looks 
after Ruth, gradually expanding into 
an ecstacy that seeks expression. He 
puts his arms around the dog and 
kisses him. 

ACT III. That night. 
Kempy is lying on the couch. 

MA: (Entering.) ... I didn't mean 
to disturb you. . . . Pa's sick . . . 
he wanted to take some soda ... he 
wanted me to ask you to turn on the 
water. . . . (Calls Ruth and exits.) 
KEMPY: Your mother said that you 
would get my wrench for me. . . . 
I had it when I met your my your 
sister. . . . 

RUTH : Oh oh, yes . . . . ( Getting it 
from table drainer and hastily un- 
wrapping it from cheesecloth.) 
KEMPY: (Picks up ivrench, clean and 
shining.) Why, it's all polished up. 
. . . Nobody ever did anything like 
that for me before! 
RUTH: Well, of course I didn't 
know at the time you were out getting 
married to my sister. 
KEMPY: . . . Well, you see, I didn't 
know at the time you felt that way 
toward my wrench. . . . This is go- 
ing to be a great lesson to me about 
marriage. . . . 

RUTH: I thought I'd be happy when 
Kate was married. . . . 
KEMPY: Are you unhappy? Is some 
of it because Kate's married me? 
RUTH: I don't think we ought to talk 
this way. 

KEMPY: Well, I do. ... This mar- 
riage hasn't made anybody happy . . . 
unless it was the Justice of the Peace 
. . . he charged me ten dollars 
. . . I had eleven fifty when I met 
Kate. 

RUTH: . . . Daddy only had eleven 
when he was married. . . . 
KEMPY: Yes, but he knew his wife 
longer. (He tells Ruth that Duke had 
given him the house in exchange for 
his church plans.) Why should he 
give me a whole house for a wedding 
present? 

RUTH: . . . For Kate . . . Kate 
and Duke are in love. . . . 
KEMPY: ... It isn't right Kate 
(Concluded on page 262) 



[260] 



THEATRE MAGAZINE, OCTOBER, 1V22 







Brunswick Phonographs Play All Record} 
Brunswick Records Play On Any Phonograph 



B. B. C. Co., 1922 



SUITING THE MUSIC TO THE ROOM 



BRUNSWICK having attained fame, first by achieving 
perfect rendition of the so-called "difficult tones" in 
phonographic reproduction, and then by establishing a 
New Hall of Fame of concert and operatic artists, re- 
cording exclusively for Brunswick Records, now turns 
its talent to combining fine music with fine furniture. 



Illustrated is the new Oxford, one of Brunswick's many 
period and console types, in which the charm and artistry 
of the middle ages vie with super-craftsmanship of today 
in leading one to unexpected adventures in suiting music 
to the room no matter what the room. Prices range 
from $225 to $775. Inspection at any Brunswick dealer's. 



THE BRUNSWICK-BALKE-COLLENDER CO. Established 1845 CHICAGO-NEW YORK-CINCINNATI-TORONTO 

BRUNSWICK 



P H O N O G R-A P H S 



A N D 



R-BCO R.D S 



[261] 




WRAP-AROUND 

Invisible Corseting 

XJOT A TRACE OF A LACING has 
-*- ^ the Warner's Wrap-around- 
just narrow sections of firm elastic 
alternating with brocades, that stretch 
enough to let you "wrap it and snap it" 
on. And when on, the Warner's Wrap- 
around is a part of yourself not n 
line showing through the gown. It 
does not stretch into looseness, mak- 
ing the figure unsightly, as does a solid 
rubber corset. It holds you, just as 
much as you want to be held and no 
more. It's a featherweight, and you're 
free in it. , 

Prices: $1.50, $2.00, $2.50, $3.00, $3.50, 
$4.00, $5.00, $7.50. 



A BANDEAU especially designed to wear 
with this type of Wrap-around. It ex- 
tends well down below the waist line 
and stays down securely over the low- 
top of the Wrap-around. Prices: $1.00, 
$1.50, $2.00, $2.50, $3.00 and $3.50. 








KEMPY 



(Concluded from page 260) 



being married to me and in love with 
the Duke and me being married to 
her and ... I don't love Kate 
as a husband should not since . . . 
since I know how I feel toward you 
RUTH: (Rises dramatically.) . . . 
Kemp, you're Kate's husband ! 
KEMPY: ... In name only, and I'm 
going to stay that way. . . . 

Dad and Ma enter. . . . Kate 
comes down the stairs. 

DAD: . . . We couldn't go to bed 
without finding out how things stand. 
. . . Naturally we wanted to know 
what plans your husband has. They 
are going to fit right in with ours 
too. . . . Ma and me are going to 
take a trip out to California and 
Ruthie is going to the Institute. That 
will leave you two here all to your- 
selves. 

KATE: Perhaps I have some plans of 
my own. . . . 

DAD: . . . You're going to get up 
in the mornings, and cook your hus- 
band's meals, and wash the dishes 
. . . and be a happy wife! . . . 
KATE: I am going to leave this house 
and my husband and this town 
tomorrow morning! ... I expect to 
sign a contract that will make me in- 
dependent of all of you! . . . 

They are indulging in a general 
family row when Duke enters. 

KATE: We've had enough talk. 
Kemp, come, let's go to our room ! 
KEMPY: (In desperation.) Maybe 
you've had enough talk. Now I'm 
going to tell you something. . . . I'm 
through! I came into this house to fix 
the pipe and you took me off and mar- 
ried me . . . And I'm not of age 
either and I didn't have my parents' 
consent! 



DUKE: . . . This marriage can be 

annulled. 

KATE: Will you all please keep out 

of my affairs? . . . I'll be gone in 

the morning and then I'll take care of 

myself! 

Telephone rings there is a West- 
ern Union message for Kate from 
Manager Oscar Sherman. She listens, 
then sits inert, realizing she is com- 
pletely beaten. 

KATE: (To Duke.) He doesn't want 

me, Duke nobody wants me. 

DUKE: Kate, is there anything I can 

do? 

KATE: Would you take care of the 

annulment? 

KEMPY: Yes, I wish you would too. 

DUKE: (To Kempy.) All right let's 

go over to Ben's house and talk it 

over. 

KATE: Good night, Duke 

DUKE: Good night till tomorrow 

there, there, dear, it's all right. . . . 

KEMPY: Good night I've had a very 

pleasant evening. 

RUTH: . . . You never did finish 

fixing that pipe in our kitchen. 

KEMPY: I know, I thought I'd come 

back in the morning. . . . Will you 

keep my wrench for me? 

RUTH: Oh, thank you. 

KEMPY: You're welcome. (Exits. 

Ruth goes to her room, hugging 

wrench.) 

DAD: I'll bet Duke's going to marry 

Kate after all 

MA: Maybe she'll have her honey- 
moon at Atlantic City remember 
ours, Pa at Niagara Falls? 
DAD: (Smiles tenderly.) Yes, Ma. 
(Then irritably.) Oh, for God's sake, 
let's go to bed. (They exit.) 

CURTAIN 



THE SALZBURG MOZART FESTIVAL 



The Mozart Festival in Salzburg, 
Austria, will be given this summer, 
in spite of the tremendous difficulties 
arising through financial and economic 
conditions, and the possible complete 
collapse of the crown. Richard 
Strauss, who will conduct, is in entire 



charge of the arrangements and of 
the building of the new theatre. He 
has announced that the most enthusi- 
astic support has been received from 
America, whence has come the great- 
er part of the twenty-five million 
kronen already available. 



NEW VICTOR RECORDS 



Paderewski on a new record, par- 
ticularly a number of his own compos- 
ing, is truly an event. Among the new 
September Victor Record releases is 
the first record this great pianist has 
made in a long time. Happily, too, 
it is a composition of his own, inter- 
preted under conditions as nearly 
ideal as possible, through apparatus 
far more delicate than he knew in 
his earlier years. It is a soft, not 
a showy, record, very melodious, and 
a welcome utterance from the great 
master. 

In characteristic vein for Mme. 
Homer is "My Ain Countrie," dis- 



tinctly a woman's song for women, a 
quaint melody of almost heartbreak- 
ing pathos, sung throughout with that 
simplicity which defies the common 
expedients of art. It is Scotch in 
style slow, measured, powerfully 
rhythmic, with a characteristic minor 
strain throughout. 

American music has developed its 
own idioms, and "My Mother," which 
Orville Harrold sings on a new Sep- 
tember record, is distinctly American. 
It is simple in style and homely in 
sentiment, full of mother-love and 
tender reminiscence in words and 
melody. 



[262] 



%lw 



\iA Sample Tithe 
Will Answer 
"This Question 



I using the right face cream 
the cream in which I can safely 
place my confidence ? ' ' 
Three generations of discerning women 
have found the answer in Creme Simon. 
One trial will convince you, too, that 
this fragrant cream gives your skin that 
clear, healthy texture that means true 
complexion beauty. Send lOc (to cover 
cost of packing and mailing) for a trial 
tube, and experience the joy of a soft, 
radiant complexion. 

Creme Simon can be had at 
Smart Shops Everywhere 
'MAURICE LfcVY,Division A,no-lli W.4ist St.,N. Y. 



MON 

MADE IN FRANCE 




Miss Mary Beth Milfard, of the "Music Box 
Revue," wearing a Bergdorf-Qoodman ermine cape 

To announce Mr. Goodman's return 
from overseas with his personally 
selected collection of women's clothes. 

(Now being shown) 

BERGDORF 
UOODMAN 

616 FIFTH AVENUE 

NEW YORK 



THEATRE MAGAZINE, OCTOBER, 1922 



The pestle 




Wave 



A New Discovery for Permanent Waving 
Especially Beneficial for Winter Wear 



L / HE new Nestle discovery in per- 

-* manent waving is distinct from 
all other permanent wavings in that 
the tedious process of applying borax 
pads, pastes, lotions and tubes is done 
away with. In this, the inventor has 
achieved what seemed for sixteen 
years an impossibility. 

Mr. Nestle, the inventor of the 
original permanent wave, admits that 
a replacement of the borax steam 
method seemed an impossibility and 
that the evolution of the LANOIL 
could only be brought about by a new 
chemical discovery. Of course, so- 
called "waves by oil" were old, but 
they were a "fake" inasmuch as borax 
steam was still the waving agent, and 
a few drops of oil added to the water and borax did not do away with 
the borax principle, and its effect on many hair structures. 




The object of a LANOIL Permanent 

Wave is to make the hair look and act 

like naturally curly hair all the time 



The tJtfore Advanced Hairdressers All Over the World 
Stand "Behind the J^ANOIJ^ Waving Process 

Hairdressers all over the United States who have been offering the 
LANOIL Process to their patrons report a hundred per cent increase in 
business. Many inquiries from European cities show that the whole 
hairdressers' world abroad is anxiously looking to the United States for 
developments. The old borax wave had advantages for some hair which 
must be admitted from one point of view, in that it gave some hair a 
certain stiffness, which certain wearers appreciated. The LANOIL does 
not do that. It leaves the hair free from stiffening injections. It emerges 
soft and silky as before, merely having acquired permanent curliness. 

So that while the borax wave, or the wave "by oil" (and borax) may be 
to the advantage of just a few stray qualities of hair, the fact is that the 
general cultured public refrained or drifted away from it because of its 
antagonistic results to the hair and taste of ninety out of a hundred ladies. 

The LANOIL Wave appeals to the very public which withheld from 
the borax wave. No stiffness, no hardness, and not a chance of frizzi- 
ness. Just a natural, soft curl, with all the life and lustre of your hair 
completely retained. 

The fjiNOI^ Wave is ^Pleasant For the Winter 

Hand in hand with the LANOIL Wave goes a seventy-five per cent heat 
reduction in its application, and an injection into the hair of a fat which 
improves the hair considerably. Borax made the hair dry. This pre- 
vented many ladies from having it for winter. The LANOIL Process, 
on the contrary, is an excellent winter wave because of the absence of 
this dryness. Over 6,000 LANOIL Waves were given at the New 
York Nestle establishment between March and August, with the result 
that general complaints were reduced from nine per cent in 1921 to 
three per cent, the lowest on record. All LANOIL wavers in the 
United States give the guarantee to their patrons to rewave their hair 
in case of complaint, free of charge. 

Apply for an illustrated booklet, and a list of recommended 
LANOIL Wavers in your district, to the Nestle LANOIL Co., Ltd., 
Dept. T, 12 and 14 East 49th Street, New York City. 

fjidies Tiplio for sine reason or another find themselves unable to go to 
a f^ANOlJi^ Wav<r may ibtain a J^ANOIJ^, Home Outjit, price $15 



[263] 



ZJejtah 

F & A. SS-L. 5 




VIOLET HEMING 

This fascinating young star says: "The constant admira- 
tion my Deltah Pearls receive makes me proud indeed 
that I selected Deltahs in preference to all others." 

"Les Perles Deltah 
N'ont pas de Rival" 

Delta Pearls have no rival. Na- 
ture produces pearls as beauti- 
ful as Deltahs. But they are hard 
to find and costly to match. 

Deltah Necklaces enable you to 
secure economically all the beau- 
ty, charm and purity that Pearls 
can possibly possess. 

Your jeweler will explain Del- 
tah superiority and the Heller 
Guarantee which accompanies 
each Necklace. 

Priced $10 to $500 the Necklace 
For Illustrated Booklet Address Dept. T9 

L. HELLER & SONS, INC. 

358 Fifth Ave., New York Paris, 40 Rue Laffitte 



Created by the producers of Hel- 
ler "Hope" Rubies and "Hope" 
Sapphires true precious stones 
identical with the fine natural 
Rubies and Sapphires in every 
respect save origin. 



//eltah 




GOING BROKE FOR ART'S SAKE 



from fattc 22,'J 



One manager told me, after "Aphro- 
dite" had played to $38,000 in one 
week, that his share of the profits, de- 
ducting his expenses, was a little over 
$400. "Why, Mr. Gest," he com- 
plained, "I played a picture called 
'Ten Nights In A Baroom,' the week 
before last and made $1,800 profit. 
That's what I think of your artistic 
productions I am going to play noth- 
ing hut pictures hereafter." 

Yet, on the other hand, I have re- 
ceived many letters from eminent peo- 
ple and high authorities in the world 
of art, which have made me feel 
happier than the comment however 
sincere of the manager who pre- 
ferred "Ten Nights In A Barroom.' 
There is some consolation at least in 
knowing that you have satisfied your 
own conscience given to America 
what you wanted sincerely, and what 
you hoped they would want. 

When I was a young man in my 
early twenties I went to work for the 
famous impresario, Oscar Hammer- 
stein, then starting his first venture 
with the Manhattan Opera Company 
in New York. The sights and sounds 
the very odor of the theatre had 
worked into my blood. In my spare 
hours I spent my time designing sets 
for the various operas, collaborating 
with the scenic artists and costume 
designers, trying out bizarre effects 
with lights and colors. 

I presume my first flair for the spec- 
tacular was conceived while under the 
great impresario's tutelage. In 1910, 
hile on a trip to Europe for the 
opera company, I saw in Paris the 
Russian Ballet just then imported 
from the Imperial Theatre and I 
made up my mind to bring them to 
America. After some difficulty I se- 
cured a contract for the entire com- 
pany and the same year brought them 
to New York. Many of the original 
dancers have since attained no small 
degree of personal acclaim Lopokova, 
Kosloff, Bulgakoff and Volinine. 

A few years later Gertrude Hoff- 
man came to my attention. Her ex- 
quisite dancing captivated me and 
with what slender resources I had at 
land I organized a company and 
started in producing on my own. The 
jest I could secure in setting and cos- 
ume investiture was none too good 
for me and I felt convinced that 
American audiences would confirm my 
udgment. For London I brought over 
he Harker brothers, whose magic 
scenic creations are still a happy mem- 
ory. My costumes I had designed by 
'ercy Anderson and Leon Bakst then 
>ractically unknown to theatre-goers 
n this country. The venture was a 
moderate success, but I found that I 
lad been too lavish with my invest- 
ments, and the small profits were soon 
dissipated in salaries and minor obli- 
ations. 

Following this in partnership with 
lay Comstock I produced "The 
Whip" and "Experience." The latter 



was especially successful, from every 
point of view, and before it had run 
its length had netted me almost a mil- 
lion dollars. 1 was so elated that I 
determined at once on a nation-wide 
tour of the Russian Ballet. Here again 
my aspirations got the better of my 
judgment. By the time the company 
reached San Francisco, Mr. Comstock 
wired me that we had lost nearly 
$100,000! 

I felt, at any rate, that I had accom- 
plished one solid fact: everywhere we 
had been we were met with the 
kindliest criticism and praise. Ameri- 
can appreciation of good art, of ex- 
alted motives, of fine interpretations 
and splendid music had expressed it- 
self. That conviction was worth 
whatever money it cost me. When I 
got back to New York I was broke, 
but happy. 

Last December, while in Europe 
seeking new dramatic material, I ran 
across Balieff's "Chauve-Souris" in 
Paris the Bat Theatre of Moscow. 
Here was a decided novelty. I loved 
the performances and determined that 
in some way or other I would give 
their unique art to New York and to 
America. When I cabled Nikita 
Balieff the leader of the Russian 
players in London last January, clos- 
ing the contract to bring his organiza- 
tion to this country, I did so without 
expecting to make a dollar. I was 
prepared to lose $75,000 if necessary 
and I didn't have the money. To be 
frank I didn't have a quarter that I 
could honestly call my own. I bor- 
rowed enough to transport the Rus- 
sians and trusted to God and luck. 
Fortunately the "Chauve-Souris" has 
been the sensation of the new genera- 
tion of play-goers. It opened at the 
Forty-Ninth Street Theatre in New 
York on the night of February 3, 1922, 
and after playing there eighteen weeks, 
moved to the Century Theatre Roof 
completely transformed into a Rus- 
sian theatre by the artist Remisoff 
and there I fully believe it will play 
for another year before going on tour. 
If so, it will be the first time in my 
life that I have ever made a dollar 
out of Art. 

I have lately had occasion to an- 
alyze the reason for this fact and I 
believe it is simple. Whatever is said 
to the contrary it is true that America 
does appreciate good art and good 
artists; I happen to know because I 
have lost a fortune proving it. What 
we do demand is sanity, the art that 
grows upon sound standards and ac- 
cepted technique. That is where I 
made my mistake. My art was sound, 
but my portrayal and investiture of 
it was insane "Gest's magnificent 
follies" they were called. I was 
over-ambitious perhaps: I wanted to 
fit the stage to my dreams, rather 
than my dreams to the stage. And it 
can't be done. 

That is where I made my mistake. 
(Concluded on page 268) 



[264] 







f/s there a softer lustre, a more 
Q_J refreshing crispness, or a finer 
texture quality than that of silk? 



Cheney Dress Silks, Velvets, Ribbons, Decorative and 
Upholstery Silks, Cravats and Men's Socks are obtain- 
able at stores with a reputation for fine merchandise. 




CHENEY BROTHERS, FOURTH AVENUE AT EIGHTEENTH STREET, NEW YORK 




Chair installed in Balaban & Katz. Chicago 
Theatre by American Seating Company. 



In America's Foremost 
Theatres 

THE public-wise manager knows that an 
audience comfortably seated is half won. 
He knows, too, that with the other elements 
of attraction more or less evenly balanced, the 
more comfortable seats of one. theatre will easily 
swing the decision or "where to go" in its favor. 
Seating that was tolerated five and ten years 
ago is endured under protest now or altogether 
avoided. 

Our Theatre Engineering Department will be 
glad to consult with any theatre owner or 
manager on new installations or renewal of old. 
We can show you without obligation how your 
theatre can "cheat old age" and revive its 
youth for further years of service. 

eaesexaxessSGJGse^exsiesexcKssss^^ 




NEW YORK 
117 W. 40th Street 

BOSTON 
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18 E. Jackson Blvd. 

PHILADELPHIA 
707-250 S. Broad Street 



By ANNE ARCHBALD 




THE time has come the Walrus said, to talk of many things. . . ." 
He observed this to us the other day. And if you've noticed, in any 
well-regulated magazine, when the Walrus dictates "the time has come 
..." the writer hastens to obey. 

Among the many things to be talked of it appeared to be the Walruses idea 
that the most important was this . . here . . now . . matter of women's 
coiffures. It was getting to be October and people had come home from their 
vacations and were going to the theatres and the opera. And what about the 
appearance of their heads. It was important to have a complexion at the 
theatre, of course . . one must never forget nor neglect that . . but it was 
quite as important to have a beautifully groomed head of hair. Because only 
your seat-mates could see your face, whereas the whole house could see your 
back hair. Women were sometimes ostrich-like and didn't realize this. 

But how were they going to accomplish this hair beauty? Were they 
going to go to the hair dresser every time they wanted a wave? And inci- 
dentally look like nothing at all in the meantime. And what about the nights 
when they had an impromptu last minute invitation and would not have a 
chance at a hair-dressing shop at all. 

"Well, what?" we asked. "What's the answer?" 

"Ah, that's up to you," said the Walrus. . . 

The answer was offered by a smart hairdressing establishment off Fifth, 
in the late Forties, where all the well-known actresses are going nowadays 
for their hair. We bethought ourselves of the place at once, and went there. 

"The solution," said they, "of a lovely looking head of hair, always in 
order, with no 'off days,' was indubitably the permanent wave." It was more 
than ever the solution since the recent discovery of their splendid new process 
of permanent waving the Lanoil process. 

Before this discovery a permanent wave, as perhaps you know, was 
effected by changing the structure of the hair from straight to wavy through 
steam obtained from moistened borax. The hair was wound on curlers, packed 
between the borax and electrically heated. And though this gave a successful 
permanent wave in a way, the use of the borax had distinct drawbacks. 
Among them, it tended to overdry the hair and so give to many heads a dull 
and rusty appearance. Women began to say among themselves, and the men 
of the family as well, that the permanent wave was all right to look at, but 
it was awfully bad for the hair, it made it brittle, broke it off, thinned it. 

But with the discovery of this new composition, Lanoil, all that has been 
obviated. Lanoil simply softens the hair, while it is in a wavy position, and 
then the heat hardens this wave into permanency. The fat of the hair is not 
lost and the softening and hardening process can go on indefinitely without the 
least damage whenever the new hair having grown out straight it is necessary 
to repeat the waving. 

All the discomforts attending the former process a process still being 
used in almost every other place are gone; especially the possibility of burn- 
ing the scalp, because now there is no liquid to run about. You may sleep if 
you wish while your hair is being waved. Certainly if you are having it done 
in this establishment, with its booths de luxe, you will want to partake of the 
tea or coffe and sandwiches served free of charge. We accidentally broke in 
upon one cubby where clever Jane Warrington, of the thrilling mystery play, 
"The Cat and the Canary," was having the finishing touches of a permanent 
wave put on her lovely blonde head, so like to Elsie Ferguson's. But she didn't 
mind. She was so enthusiastic over her wave she gave us gracious permission 
to mention it. 

Three additional and very important features of this new process should 
be particularly noted. The time of operation is shortened. The range of 
prices is lower. And certain heads of dyed or bleached hair, hitherto in- 
operable, will now "work." And when you are through you will have the 
proud consciousness that you are a night-and-day beauty, always ready for 
action, charming in either jungle or parlor. 

(For the name of the smart hairdressing establishment giving this nevi 
Lanoil permanent u-ave process, virile The Vanity Box, Care The Theatre 
Magazine, 6 East 39r/; Street, Ne-w York City.) 



THEATRE MAGAZINE. OCTOBER, 1922 




V 



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MR. HORNBLOW GOES TO THE PLAY 



(Concluded from fatjc 228) 



COMEDY! Actual fa-t! If you 
don't believe it (and I don't 
blame you if you don't!) go and see! 
Not only comedy, but humor which is 
something else again and an even 
rarer commodity on the musical show 
boards of Broadway. Frank Tinney 
and the writers of a trite but fun-filled 
book are responsible for the innovation. 

Mr. Hammerstein's new offering is 
anything but subtle. Julian Mitchell 
has by no means acquitted himself 
with his usual fair in the matter of 
staging the production. A heavy hand 
is felt throughout, a chorus-girl master 
instead of an artist has seemed to 
have taught his girls to tear about the 
stage in what are alleged to be "num- 
bers." But when Tinney appears this 
ceases to matter and one can enjoy 
himself immensely. It is a show to 
listen to rather than look at, and one 
must be grateful for the change. Usu- 
ally we have had to depend on that 
old reliable, George M., for enter- 
tainments of the sort. 

There are several excellent specialty 
dance numbers, by Frances Grant and 
Ted Wing, Mary Haun and Galdino 
Sedano, Margaret and Elizabeth Keene 
and Frederick Renoff, all of them un- 
usual performers. But again it is of 
the rare fun in the piece that I must 
speak. Irene Olsen, a rather affected 
and painfully self-conscious young lady, 
is anything but ready for prima donna 
roles. 

The Woman Who Laughed 

A play by Edward Locke produced 
at the Longacre Theatre on August 
16th with the following cast: 

John Neilson, William H. Powell; Frieda 
Neilsnn. Martha Hedman; Minna Decker, 
Gilda Leary. 

A SOMEWHAT pointless piece and 
certainly an incredible one is Mr. 
Locke's latest opus. Miss Hedman acts 
it to the hilt, and the other two mem- 
bers of the cast struggle desperately 
and somewhat more successfully with 
the violent unrealities given them to 
unfold. 



I cannot think that New York and 
environs will find much to endear 
them to "The Woman Who Laughed." 
Perhaps who knows? she has 
laughed a bit too soon. 



Lights Out 

A comedy by Paul Dickey and Mann 
Page produced at the Vanderbilt The- 
atre by Mrs. Henry B. Harris, on 
August 14th, with the following cast: 

Walt Sebastian, Francis Byrne; Barbara 
Peyton, Marcia Byron; Mrs. Chester Gal- 
lant, Olive Harper Thorn; Keith Forbes, 
William Shelley; Brakeman, Albert Powers; 
Mr. Peyton, William Ingersoll; Egbert 
Winslow, Robert Ames; Porter, Cy Plun- 
kett; Hair Pin Annie, Beatrice Noyes; 
Butts McAllister, Lorin Raker; "Camera 
Eye" Decker, Philip Lord; Silent Jim, Sam 
Janney; High Shine Joe, C. Henry Gordon; 
Night Watchman, Hallam Bosworth; Mr. 
Wellsback, William E. Morris. 

A MELODRAMA with a new idea 
is something for a dramatic cri- 
tic to write home about. Such is the 
case with this new work from the 
pen or one of the pens that gave 
Broadway its beloved "Misleading 
Lady." "Lights Out" has an idea. A 
crook, having been double-crossed by 
a former pal, who has skipped with 
the proceeds of their co-operative bank 
robbing, determines to reach the con- 
science of the traitor by exposing him 
in the movies. So "High Shine Joe," 
happy in the tropical delights of 
1'Amerique du Sud, sees himself 
nominated a blackguard and a villain 
in the hair-raising crook serial, "The 
Red Trail." 

Things then happen; there is shoot- 
ing by night, and lights go out and 
even the ushers stop talking in the 
general excitement that ensues when 
High Shine gets busy. 

The piece is adequately though con- 
ventionally done. It is agreeable to 
have the discerning Mrs. Harris back 
in the lists again, even as only the 
pntionne of a 42nd Street dreadful. 
One always feels that there may be a 
"Damaged Goods" just around the 
corner. 



GOING BROKE FOR ART'S SAKE 



Address 



What success I have attained with 
my big productions was due in large" 
measure to my illustrious father-in- 
law, David Belasco. When I produced 
"The Wanderer," I engaged the late 
Ben Teal as stage director. Mr. Teal 
did everything possible, within his 
limitations, yet ten days before the 
first performance I knew something 
was wrong. He had attempted more 
than his frail shoulders could bear. 
He was already stricken with the 
malady which afterwards caused his 
death. Mr. Belasco heard of my 
trouble. He asked permission, to 
attend a rehearsal. In the middle 
of it he went on the stage, put kit 



(Concluded from page 264) 

arm over Teal's shoulder and said: 



"My dear boy, will you permit me to 
sit in with you in an advisory capacity, 
because I know you are ill?" Mr. 
Teal nearly broke down. He still sat 
in the director's chair, however, and 
watched Mr. Belasco take charge of 
the performance and with his wonder- 
ful vigor instill new life into the 
players. On the opening night, Ben 
Teal took the curtain call and it was 
Ben Teal's name that appeared on the 
program as the producer. Mr. Belasco 
nodestly disclaimed all credit. This 
the first public acknowledgment of 
die fact. 



THEATRE MAGAZINE. OCTOBER. 1922 






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FRED STERR.Y, 

EDWARD C. Focc, 

MANAGING Dl RECTOR& 



{Continued from paye 246) 



inhabitants of the State are of foreign 
birth or parentage. Here the home tal- 
ents are still cherished as a means of 
genuine enjoyment. The people have 
not broken their connections with the 
big family of the country folks. They 
have retained their birthright of pleas- 
ure in simple things. It is not strange 
that from such a spirit of neighbor- 
liness a native drama should spring. 

A new fellowship of Playmakers 
came naturally in the fall of 1918. 
There was no formal organization at 
first. Membership in The Carolina 
Playmakers was open to all. Anyone 
who did anything toward the making 
of a play was counted a Playmaker. 
It was truly a society of amateurs in 
co-operative folk-arts. 

Already a wide range of original 
folk-plays have come. They were 
written in the University course in 
Dramatic Composition, and produced 
by The Playmakers on a home-made 
stage, constructed by them for the pur- 
pose, in the auditorium of the Public 
School building at Chapel Hill. 

The initial program consisted of 
"What Will Barbara Say?", a ro- 
mance of Chapel Hill, by Minnie 
Shepherd Sparrow, who assayed the 
leading part; "The Return of Buck 
Gavin," a tragedy of a mountain out- 
law, by Thomas C. Wolfe, of Ashe- 
ville, who made bis debut as a player 
in the title role of this, his first play; 
and "When Witches Ride," a play of 
North Carolina folk-superstition drawn 
largely by the young author, Elizabeth 
A. Lay, from her own experiences 
while teaching in a country school in 
Northampton County. 

WHERE ACTORS AND AUDIENCE 
ARE ONE 

IT is an interesting experience to par- 
ticipate with the audience in the 
first performance of a new play. There 
is a feeling of intimate interest, an 
almost childlike excitement on the part 
of everyone townspeople, students 
and professors alike. This is their 
play, written by one of their own num- 
ber. These are their players, and all 
are Playmakers together. 

The play is "Peggy," perhaps. The 
curtain discloses the shabby interior of 
a tenant cabin. It is a familiar sight 
just such a drab-looking cabin in 
the red fields as each person present 
has passed by many times without 
thought or interest. Mag, the jaded 
farm woman with snuff-stick protrud- 
ing from the corner of her mouth, is 
getting supper, singing snatches of an 
old ballad as she works. She is a 
commonplace figure. But in the play 
she becomes a character of new and 
compelling interest. Spontaneous guf- 
faws of laughter greet this actual ap- 
pearance upon their stage of the 
"sorry-looking," snuff-spitting char- 
acter so familiar to them. But pres- 
ently all are moved to feel with the 
actors the tragic fact of her hard 



won existence. Then, it seemed to me. 
that the dividing footlights were gone 
that the audience had actually 
joined with the actors and become a 
part of the play itself. It had become 
a living truth to them. 

THE STUFF OF WHICH FOLK 
PLAYS ARE MADE 

The plays produced in these first 
years have revealed a remarkable 
variety of materials and forms. 

Representative of the farm plays are 
such tragedies of revolt as "Peggy," 
"The Miser" and "The Lord's Will." 
In contrast with these are "Dogwood 
Bushes," and "In Dixon's Kitchen," 
comedies of the Carolina springtime, 
of the dogwoods and the peach trees 
all in bloom, and the old, old story 
of a country courtship. 

There are plays of daring outlaws, 
The Croatian gang in "The Last of the 
Lowries," "Dod Oast Ye Both!" "Re- 
ward Offered," "The Return of Buck 
Gavin," and the ghost-tale of "The 
Third Night." There are colorful 
themes from Colonial times the 
strange legend of "The Old Man of 
Edenton," the wistful fantasy of 
"Trista," the haunting mystery of 
Theodosia Burr in "Off Nags Head"; 
plays of the folk-belief in the super- 
natural as in "The Hag," and in the 
brave sea-play, "Blackbeard, Pirate of 
the Carolina Coast." 

Not the least significant are the 
plays written for a negro theatre, such 
as the realistic "Granny Boling," "The 
Fighting Corporal," a rollicking 
comedy of the undoing of a braggart 
soldier just back from "de big war in 
France," and "White Dresses," the 
story of old Aunt Candace and her 
niece Mary McLean, a pretty quad- 
roon girl. Aunt Candace becomes the 
embodiment of her race and her words 
to Mary conclude the stark tragedy of 
the race problem: "I knows yo'se got 
feelin's chile. But yo'se got to 
smother 'em in. Yo'se got to smother 
'em in." 

Such are the Carolina Folk-Plays. 
They have been welcomed in towns 
and cities all over North Carolina. It 
is the hope of our Playmakers that they 
will have something of real human 
interest for the big family of our 
American folk beyond the borders of 
Carolina. 

There is everywhere an awakening 
of the folk-consciousness, which should 
be cherished in a new republic of 
active literature. As did the Greeks 
and our far-seeing Elizabethan for- 
bears, so should we, the people of this 
new Renaissance, find fresh dramatic 
forms to express our America of to- 
day our larger conception of the 
kingdom of humanity. 

Toward this, The Carolina Play- 
makers are hoping to contribute some- 
thing of lasting value in the making of 
a new Folk Theatre and a new folk 
literature. 



MARMON 



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STUDY lamps instead of pine 
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conditions improve. Grandmothers 
and mothers used birdseye and 
other bulky sanitary pads. Today 
a new sanitary habit has been made 
possible by Kotex. 
Kotex is a sanitary pad that does 
away with many embarrassments. 
It is easy to buy without saying 
"sanitary pads" by simply asking 
for "Kotex." It is sold in depart- 
ment, drygoods and drug stores. 
Everywhere. It comes in a blue 
box which has no printing except 
the name " Kotex." 

Kotex solves an age-old laundry 
problem by removing it, for Kotex 
is cheap enough to throw away 
and easy to dispose of by following 
simple directions found in each 
box. Two sizes Regular and Hos- 
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Many find it economical to have a 
supply of each. 

Keep Kotex always on hand. Ask 
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Kotex vending machines are 
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GERMAN STAGE RUNNING TO 
DEGENERACY 



OSWALD GARRISON V1LLARU, 
than whom few American com- 
mentators on matters Teutonic speak 
with more authority, in a series of 
engrossing articles on the rebirth of 
Germany in "The Nation" has occasion 
to refer to the stage of that country in 
an installment entitled "The Price the 
People Are Paying." 

Speaking of the general sweep of 
immorality throughout the land, Mr. 
Villard goes on to say: 

"The whole viewpoint of Europe is 
changing in regard to these things; 
they are being more than ever con- 
sidered normal and natural. Unfortu- 
nately the unnatural and perverse are 
also more than ever in evidence and 
this is not to be wondered at in view 
of the degradation of a portion of the 
German and Austrian stage. That 
any municipality would tolerate the 
acting of perversion in a reputable 
theatre would certainly not have oc- 
curred to anybody before the war, but 
the efforts of right-thinking people to 
prevent the production of Arthur 
Schnitzler's "Reigen" and of "Vater- 
mord" (in which latter play abnor- 
mality and incest are the leading 
themes) have only resulted in the 
arrest of the protestants on the ground 



that they were committing a breach 
of peace in seeking to prevent the 
appearance of plays which ought to be 
banned utterly. I do not, of course, 
advocate a return to official censorship 
but a criminal statute with proper de- 
finitions to guide the stage and the 
law enforcers. These are only two 
plays that I might cite. There are 
many others that go beyond all limits 
of decency and they are appearing 
side by side with many beautiful plays 
of absorbing interest because of the 
extraordinary new scenic effects and 
methods of presentation and the re- 
markable acting. It is only fair to 
add, too, that most of the worst come- 
dies are taken over from the Paris 
stage. Vet if one should stray into 
six or seven of the plays running in 
Berlin and should see nothing else 
one would be compelled to despair of 
Germany and to believe that her new- 
found liberty has degenerated into 
disgusting, indefensible license. These 
plays are defended on the ground that 
there must be complete freedom of 
expression and liberty of talent and 
no censorship whatever. The moving- 
picture screen has also been de- 
nounced in the Reichstag as being 
brazen and shameless and quite de- 
moralizing." 




THE PASSION PLAY AT ERL 



By MARC T. GREENE 



TO most people, the Passion Play 
of Oberammergau, greatest and 
most impressive of such spectacles, 
stands alone as a reverent and devout 
portrayal of the incidents of Scriptural 
history. As a matter of fact, however, 
there are several such productions 
given at intervals throughout Europe; 
and one, at least, considerably ante- 
lates that of the immortal village on 
the Ammer. 

On the boundary line between the 
German province of Bavaria and that 
part of Austria known as the Tyrol, 
lies the beautiful little village of Erl, 
once described as a "jewel in a casket 
of nature's own fabrication." Here, 
according to well-authenticated tra- 
dition, was produced the first of the 
Passion Plays, and in 1565, more than 
three score years before that at Ober- 
ammergau. It has been repeated since 
then at more or less regular intervals, 



usually in the "2" years, presumably 
to avoid connection with the greater 
undertaking. The last performance 
was in 1912, and before that in 1902 
and in 1892. 

The play at Erl was presented this 
year on June 5th and will continue at 
weekly intervals until September. Its 
inspiration has never been learned, 
but it was probably in the great re- 
ligious zeal of that period rather in 
any specific event, like that at Ober- 
ammergau. It is, of course, on no 
such scale as that with which the 
world is most familiar. Impressive- 
ness is not lost on that account, how- 
ever, nor is the play in this little, 
almost unknown, village unmarred by 
the unfortunate holiday spirit which 
prevails to so great an extent among 
the visitors to Oberammergau. Tour- 
ists are comparatively few but those 
who do go to Erl are well rewarded. 




THEATRE MAGAZINE, OCTOBER, 



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The June, 1903 May, 1905 November, 1911 April, 1916 October, 
1918 numbers of THEATRE MAGAZINE, we will buy them back at $1.00 
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Address: A. B. A. 

c/o THEATRE MAGAZINE, 

6 East 39th Street, New York. 




Alma Simpson, Soprano Rccitalitl 



"It's a Cream that 

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[273] 



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The Promenades of Angelina 

(Continued from page 256) 
Vanna, who graciously lent her 
dancer's feet and ankles for the posing 
of the shoes on the other page. And 
there was the choicest little person 
with a pert turned-up nose, and a pert 
straight-down bob . . and Oh, half 
a dozen others quite as noticeable . . 

The last line of "The Cinderclh 
Blues" jazzes out . . "Who are the 
misguided wretches who are saying 
'sell' and 'tell' for 'sale' and 'taL-'?" 
says Anderson from the front row. 
lie says it in an even, conversational 
tone, without the least rancor. Nobo:ly 
is a whit perturbed or flustered. In 
fact, we discovered it a very amusing 
part of the Murray direction . . this 
fashion of apostrophi/ing various de- 
linquents as, "You poor, misg iide.1 
girl," "You unfortunate child, don't 
you know that . ." and so on . . all 
without raising his voice or losing his 
temper . . If he ever does get really 
cross, we didn't see it that after- 
noon . . And everyone who works 
under Murray Anderson dotes on him 
we hear . . 

The song is repeated, the "wretches" 
are spotted . . "Tall-girls, tall-girls," 
calls Anderson . . "The Sporty Mrs. 
Brown" goes into rehearsal, with 
Savoy of the famous Savoy-and- 
Brennan team as "Mrs. Brown" . . 
The short girls scatter themselves 
throughout the auditorium to watch, 
sitting on the length of their spines. 
As you look back you see here and 
there the soles of certain pairs of 
feet ranged on the backs of the chair 
seats, the top of a head vaguely out- 
lined behind . . 

Back in the wings is the petite Ula 
Sharon, just returned from studying 
abroad, tirelessly practicing her ballet 
steps with blue-smocked Alexander 
Yakovleff, who has charge of all the 
dance numbers. A Russian, a per- 
sonality, this Yakovleff, and a feather 
in the cap of the Greenwich Village 
Follies . . 

Carl Randall comes in for his fea- 
ture . . a toy shop number . . bring- 
ing with him the male dancer whom 
he found in the Carpathian Mountains 
Howard Greer and Cleon Throck- 
morton . . the latter did the scenery 
for "The Hairy Ape," by the way . 
break in with questions anent the 
costumes and sets they are furnishing 
. . Anderson is amicably in six places 
at once . . A cryptic individual re- 
ferred to solely as "Albert" is in seven 

He ranges over the theatre . 
here, there, everywhere . . gadfly . 
stinging the chorus into action, round- 
ing up delinquents, meeting and dis- 
posing of people who wander in with 
di-gage blandness, answering telephone 
calls, smoothing chaos into order gen- 
erally . . As he whizzes past us 
down the aisle, or falls temporarily ex- 
hausted into a seat in front, he drops 
comments on "the gorgeous girls" and 
the proceedings that are "a scream" 

. David enjoys them hugely through 
the afternoon . . in fact, the whole 
atmosphere of work and life and color, 
the artistic spirit that is the G. V. F. , 



[274] 



THEATRE MAGAZINE, OCTOBER. 1922 



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CHECKMATE 



(Continued from page 247) 



And wait me in the hall. There we'll 
divide 

Whatever monies may be found in- 
side. 

PAWN (Fearfully) 
If I be caught within her room? 

KING 

Then I 

Shall clear thee of suspicion by some 

lie. 

See that thy hand is sure, thy footstep 

light, 

E'en as mine own when coming in o' 

night. 

( The Pa<wn goes quickly out. The Red 
Queen enters from the opposite side of 
the stage. The King is embarrassed 
and finds no words to greet her.) 

RED QUEEN (Sweetly.) 
Thou had'st my note? 

KING 

Aye. Why didst thou not wait 
To hear from me? 'Tis most unfortu- 
nate. 

Thou did'st not choose my wife's re- 
ceiving day! 

She'll think thy visit rather odd 
RED QUEEN 

Nay, nay, 

It shall appear I called on her. 
KING 

Suppose 

Thou should'st by some unheeding 
word disclose 

That thou and I are somewhat better 
friends 
Than she surmiseth? 

RED QUEEN 

Marry, that depends 
Upon thine own discretion. Hast agreed 
To let me have the trifling sum I need ? 

KING 

Thou'lt have it. (Goes hurriedly to one 
side and listens.) 

RED QUEEN 

Then my tongue shall make no slips 
Insooth, my gratitude shall seal my 
lips. 

KING 

My wife approaches now. Pray be 
discreet! 

Pretend that thou and I but chanced 
to meet. 

( The White Queen enters. Goes up to 
Red Queen and kisses her on the 
cheek.) 

WHITE QUEEN 

So sweet of you to call on us, my dear! 
Methought thou'dst quite forgotten we 
were here. 

RED QUEEN 

Forgive me, dear, I should have come 
before. 

I have no doubt thou findest life a 
bore 

Aye, married women are so much 
alone ! 

WHITE QUEEN 

Alas, 'tis frequently the case, I own. 
(She surveys the Red Queen's go<wn.) 
Thy gown is charming, dear, no one 
would guess 



Thou had'st made over last season's 
dress! 

RED QUEEN (Sweetly.) 
Indeed, I'm thankful that I am not 
stout 

As thou, for 'tis impossible without 
A skilled modiste to make one's figure 
trim 

And graceful, when one is no longer 
slim ! 

KING (Fidgeting About.) 
Dost thou not think 'tis like to rain? 

RED QUEEN 

Nay, nay ! 

I'm sure 'twill be a most delightful 
day! 

WHITE QUEEN (To Red Queen.) 
Thou art a valiant soul to bear so well 
Thy poverty, forsooth, one scarce could 
tell 

To look at thee, thou did'st thine own 
house work. 

I marvel that thou seemest not to 
shirk 

The menial tasks my servant girls 
neglect 

And yet contrive to hold thy head erect 
As any Lady ! 

RED QUEEN 
Thou too dost reveal 
A talent for deportment. Who would 
say, 

To see thee in thy drawing room today, 
Thy father sold dried herring on the 
quay? 

KING (Hurriedly to White Queen.) 
My love, I'm sure our friend would 
like to see 

The lovely mantle thou hast bought ! 
WHITE QUEEN (To Red Queen.) 

Poor dear! 

No doubt thou'lt wear the cloak. thou 
had'st last year! 

RED QUEEN (Coyly.) 
Unless some gallant pityeth my state 
(She gives the King a ravishing 
glance.) 

Perchance the King He's so consid- 
erate! 

KING (Hastily to his wife.) 
'Tis late indeed ! Our friend must soon 
depart. 

Pray go and fetch thy cloak at once, 
dear heart! 

(He hurries the White Queen to the 
side of the stage and off. Then turns 
to the Red Queen.) 

KING (Annoyed.) 

Thou tactless one! Why did'st thou 
mention me? 
She may suspect I'm interested in 

thee 

RED QUEEN 

What matter, sir, art thou become so 
weak 

And timid that thou darest not to speak 
With other women? Put her in her 
place! 

(She turns away from him. He fol- 
lows her and speaks conciliatingly.) 

KING 

Alas, thou understandest not the case. 
She'd cut me off without a crown ! 
(7"o be continued next month) 



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[275] 




CAROLINA 

FOLK PLAYS 

One-act plays by various 
authors. Edited by Fred- 
trick H. Koch, Illus- 
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to write their own plays, about their own people and 
their lives, stage them, costume them, act them." 

FRANKLIN 

By Constance D^Arcy Mackay, author of 
The Beau oj the Bath, Etc. A play in 
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"True to period. , . . The moments of crisis are 
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For descriptive circulars send to 

HENRY HOLT & CO. 

19 W. 44th St. NEW YORK 



Just Published 

CONTEMPORARY 

ONE-ACT PLAYS 

OF 1921 
-AMERICAN . 

Edited by Frank Shay 

Twenty of the best one-act plays written 
by Americans and produced by Little 
Theatres in America in 1921 : together 
with a bibliography of plays published 
since January, 1920. The plays are by 
Baird, Caesar, Culbertson, Dell, Glass- 
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Kemp, Langner, McCauley, Millay, Mor- 
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Silk cloth. 630 pages. $3.75 net 

At \if Bookshops 

Publishers 

STEWART KIDD 

Cincinnati 




PROFESSIONAL SCHOOL 




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| School of the Dance 1 

| Dance and Pantomime Adolph Bolm, = 
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| Dalcroze Eurythmics under supervi- = 

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= Anne Neacy, Courses in Costuming. 
Catalogue on request 

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Especially those containing plays for reading or 
acting, or those concerned with play production 



(CONTEMPORARY ONE-ACT 
^ PLAYS, STEWART KIDD Co. Add 
to this heading that the plays are all 
American, and that they have been 
selected and edited by Frank Shay. 
Mr. Shay in a foreward rises to re- 
mark that the lot of the anthologist 
is not a happy one. In a dilemma, he 
is tossed from the one horn of shall he 
select his plays because of the fame of 
the author, to the other horn of shall 
he use his own selective judgment and 
choose those plays that are the best 
that have come to his attention. He is 
bound over to criticism by someone 
in either course, Mr. Shay feels, but 
finally decides on the latter. After 
that his problem is further complicated 
because so many good one-act plays 
are being written and acted these days 
that the task becomes not so much one 
of selecting the best as of eliminating 
the almost as good. 

Perhaps Mr. Shay's lot as antholo- 
gist may not have been a happy one 
"in work," but it is our personal 
opinion that it has had a very happy 
emergence in the results of this 
volume. We don't know when we 
have enjoyed reading a volume of 
plays more, finding each one practi- 
cally as dramatically interesting as 
the next, and the balance along the 
broad lines of comedy and tragedy 
nicely kept throughout. Moreover, we 
can testify to the interesting qualities 
of at least a third of the plays in 
production, having seen these vari- 
ously performed by the Provincetown 
and Washington Square Players, as 
well as on the so-called regular stage. 

This collection of "Contemporary 
One-Act Plays" there are twenty of 
them is to be considered, announce 
Stewart Kidd, as supplementary to 
the "Fifty Contemporary One-Act 
Plays" issued in 1921. Such well- 
known names as Eugene O'Neill, 
Stuart Walker, Christopher Morley, 
Susan Glaspell, Harry Kemp, and 
Floyd Dell figure in the list. 

We have been aroused to enthusi- 
asm also, by the play "FRANKLIN," 
author CONSTANCE D'ARCY MACKAY, 
publishers HENRY HOLT & Co., which 
has just appeared. 

And here, in case our enthusiasms 
strike the reader as too stereotyped 
and inclusive, we might pause to inter- 



upolate that we are afraid they will 
always have to go along with the 
books that are reviewed in this 
column. Since our space is limited 
we shall perforce select for notice 
only those books concerned as to the 
drama that seem to us worthy of 
recommendation and of passing on. 

Having read Miss Mackay's play 
we wonder that it has first seen the 
light of day between the covers of 
a book and not upon the stage. We 
can think of objections that could be 
raised against its attempted produc- 
tion, to be sure . . But at once we 
can think of reasons that meet and 
nullify these objections. The play 
is essentially dramatic, especially in 
the climaxes of each of its four acts. 
The dialogue has the requisite sim- 
plicity and directness that make for 
humanness, and we find this always 
a particular achievement where a 
past epoch is being reproduced for 
a present generation. The settings 
the first two acts in Keimer's printing 
press in Philadelphia, 1723, the third 
in Franklin's home in Philadelphia, 
20 years later, and the two scenes in 
Act IV, at Franklin's hotel at Passy 
and at the Court of Versailles respec- 
tively, offer every opportunity in the 
world for color and atmosphere. 
Lastly, the character of Franklin him- 
self is delightfully drawn, a splendid 
part for some real actor to bite into, 
and Miss Mackay's aim in the play, 
"to give a picture of the man while 
keeping as close to historical data 
as possible," is entirely successful. 
With the exception of Keimer, the 
printer, Deborah Read, who becomes 
Mrs. Ben, and Bretelle, the spy, who 
personifies the forces the meanness, 
the spying, the trickery with which 
Franklin had to contend, the other 
parts are relatively but bits, though 
for all that each stands out in a life- 
like manner, with freshness and 
charm. 

It has been contended that Franklin 
was too austere, too unromantic a 
figure to engage audiences, and that 
his period also would hold no inter- 
est for them. Well, worse luck for 
American audiences! Our own idea 
is that Franklin only needs his proper 
interpreter to become a second 
"Disraeli," box office receipts and all. 



Professional Schools 

Recommended by 

The Theatre Magazine 

Catalogues will be sent on rtqu".!,t 



American 

Academy of 

Dramatic 

Arts 

Franklin H. Sargent, President 

The leading institution 
for Dramatic ami Ex- 
pressional Training in 
America. 

Detailed catalog jrorn the Secretary 



ROOM 172, CARNKGIE HALL, 
NEW YOKK 

Connected witli Charles Froliiiuin's 
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School of the Theatre 

THRESHOLD PLAYHOUSE 



DIRECTORS 
CLARE TREE MAJOR 
WALTER HAMPDEN 
GEORGE ARLISS 
RACHEL CROTHERS 
ROBERT ED. JONES 
KENNETH MACGOWAN 
ARTHUR HOPKINS 
ARTHUR HOHL 



DIRECTORS 
FRANK CRAVEN 
ELSIE FERGUSON 
BROCK PEMDERTON 
ERNEST TKTKX 
WM. LYON 1 HELI-S 
JOSE RUBEN 
GRANT MITI HI.LL 
HAZARD SHO.IT 



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Dancing Fencing Pantomime. 
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Fall Season Opens October 2nd. Write "Director" 

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SCHOOL- 



[276] 



DRAMA OPERA SPEECH 

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PERFECT FRENCH 

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Address M.J., c/o Theatre Magazine 
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NOVEMBER 1922 



MAGAZINE 



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is published on the fifteenth of each month by Theatre Magazine Company, 6 East 

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Vol. No. 36, No. 5 
Whole No. 260 




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[271] 



THEATRE MAGAZINE, NOVEMBER. 19IS 



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Old Soak, The 

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It's a Boy 

New Plays 

Awful Truth, The 

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Hanky Dory 

Banco 

Torch Bearers, The 

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Music Box Revue, The 
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Ziegfeld Follies of 1922 
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Gingham Girl, The 
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Greenwich Village Follies 
Mollie, Darling 
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Passing Show of 1922 
Sally, Irene and Mary 



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Where to Dine 




[280] 



THEATRE MAGAZINE, NOVEMBER, 19ti 




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THEATRE MAGAZINE. JVOKCMJtEJI. 1921 




A human frieze chiseled with the lens of Weston and Mather 

CONTENTS FOR NOVEMBER, 1922 



James K. Hackett as Othello . . 

Olla Podrida 

Pauline Frederick, a portrait 
Maryon Vadie, a portrait 



285 
286 
287 
288 



Among the Younger Actresses 305 

Adrift in the Roaring Forties Benjamin DeCaaeres 306 

Margaret Irving, a portrait 307 

And Now Come Films from Russia 308-9 

"A Serpent's Tooth" Arthur Richman 310 

Agnes Ayres, a portrait 311 

Hits of the Month 313 

La Danse Macabre 315 

The Versatile Winwood, an interview Bland Johaneson 316 

Atlas, a study 317 

Music Robert Nathan 318 

The Metropolitan Begins to Stir 319 

Happenings of the Month 320 

Heard on Broadway 321 

The Amateur Stage M. E. Kehoe 323 

Fashions . Anne Archbald 327 



> 8 tne American playwright? Who is he? Are there any that count in the super-world of 
drama? These interesting questions and the personalities they involve are discussed by Sheldon 
Cheney in December THEATRE .*t Another Jaunt into Brightest England by Carlton Miles this time to the home of John Galsworthy 
,* More Mirrors of Stageland -< Somerset Maugham's play "East of Suez" _* Other features and wonderful pictures galore * 



Enter the Artist as Director Kenneth Macgowan 289 

Some European Sketches Robert Edmond Jones 290-91 

To a Retiring Vamp, verse M. ]. H. 292 

Murray Anderson Does It Again 293 

The Lady of the Rocks 294 

The Mirrors of Stageland The Lady with the Lorgnettes 295 

"The Old Soak" in pictures 296 

Mr. Hornblow Goes to the Play 297 

"The Torch Bearers" in pictures 298 

"Hanky Dory" in pictures 300 

Marie Tempest, a biographical page 302 

Bernliar.lt the Invincible, an interview Alice Rohe 303 



OTFR IVFYT 
""'"I 



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president; Louis Meyer, treasurer; Paul Meyer, secretary. Single copies are thirty-five cents; four 
dollars by the year. Foreign countries, add 50c. for mail; Canada, add 50c. 



[283] 



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[284] 



THEATRE MAGAZINE 



VOL. XXXVI No. 260 



NOVEMBER, 1922 



fortrait by Lambert, of Bath 



fr: 



JAMES K. HACKETT as Othello 



The distinguished American tragedian who has been made a Chevalier of the Legion d Hon- 
neuroy the French Government for his triumphs in Pans and more recently nominated the 
greatest Shakespearean actor of an epoch" by the London "Tatler" following h >*P e '{""* 
at the Birthday -Festival in Stratford. Mr. Hackett, and his mfe Beatrice Beckley, whose 
Desdemona has been likewise acclaimed, are expected to return shortly 



[285 ] 



THEATRE MAGAZINE 



Edited by 

ARTHUR HORNBLOW and 
ARTHUR HORNBLOW. Jr. 




Olla Podrida 



The Way to the Stage 

AN attractive young girl came to see us the other day to 
ask how she might find employment on the stage. We 
see dozens such every month ; they come to us in some 
belief that, being a theatrical magazine, we are in close harmony 
with the casting directors who wield the power of professional 
life or death along the Rialto. They do not realize that, even 
if we were what they think, we are in no position to recommend 
to those directors youngsters about whom we know nothing 
ourselves. But that does not prevent our feeling dispirited 
about their plight. Our heart aches for the talented young 
man or woman, gently born and bred, whose impulse to act 
carries them against the rigid railings and insolent young swine 
that guard the outer offices of the usual theatrical manager. 
There are only three managerial offices in New York to which 
a visit is not more or less concomitant to insult. 

Were the difficulties of finding employment only in the 
outer office, however, the aspect might not be quite so cheerless. 
But where insult dwells without, extraordinary inefficiency in 
the matter of engaging personnel usually sits within. I knov 
of only three managers who are capable of running their busi- 
ness, from the standpoint of so keeping in touch with the spring- 
ing talent of the country that they can cast a play with in- 
telligence and skill when the time comes for it. 

Nine out of ten plays that open are badly cast. At least 
five of these are very badly cast. This, not so much because 
there are no actors capable of playing the parts, but because 
the system of casting is so absurd a one as practically to guar- 
antee shoddy results. There may be more casting managers 
or directors who have an adequate filing record of available 
players and their possible uses, but I know of only one. Mr. 
Winthrop Ames keeps an exhaustive card file covering the vir- 
tues and defects of every applicant he interviews. It is a tribute 
to his judgment that there is in that file, graded some time ago 
over 90% in "personality," "intelligence," "acting ability," 
etc., names that today are among the foremost in the profession. 
Nobody casts a play better than Ames. 

The usual system of casting calls for waiting until the 
last minute and then hurriedly sending for such available peo- 
ple as the mind of some alert agent can think up. The agents, 
in fact, are the most influential persons in the theatre today 
in the matter of getting jobs. Only the big names or those of 
personal acquaintances or old fellow-players are in the minds 
of the casting directors themselves. If the agent forgets an 
actor or a recent file of THEATRE MAGAZINE containing his 
picture is not within ready reach, however well suited he may 
be for a certain type of part and however much he may be 
available he will go without it. And as for the newcomer! 
Getting a bit of the moon is a more likely possibility than that 



the newcomer will be given the hearing and the more important 
"remembering" he may deserve. This is rank folly. Not be- 
cause it is hard on the newcomer, which it is. But because it 
is mighty bad business on the part of the producer. When will 
a general state of efficiency be introduced into the offices where 
casting is done? We don't know. Perhaps it never will. 
Perhaps the theatre is not a place for efficiency of any sort. 
Certainly there is ample evidence to that effect. But, at least, 
without proper casting there will rarely be proper casts. We 
are amazed that producers who at times show intelligence in 
other respects can continue this methodless method of remaining 
close to the moving world of talent. 



The Navy as Theatrical Censor 

SOMETHING in the nature of a "last straw" occurred 
^ recently at Indianapolis, when navy officials, acting wholly 
without authority in law or in ethics, stopped a vaudeville 
act because it travestied the navy! The extent of the travesty 
lay in some good-natured fun poked at the life of a sailor, 
which involved such treasonable dialogue as "What does U. S. 
stand for?" being answered by "Unlimited Scrubbing." Ac- 
cording to the offended officials this sort of pernicious talk 
hampered enlistment and caused mothers to hinder their sons 
against entering the navy! 

The act was stopped not only in Indianapolis but also in 
Buffalo, indicating that the navy's action was not simply the 
result of an isolated and local asininity but one spread properly 
about through naval channels and apparently approved and 
sustained as it progressed from one Patriot to another. The 
fact that the same act started during the war and has been 
on the boards for four years without interference indicates 
not so much that it is genuinely dangerous to the national 
safety as that the growing spirit of repression and dogmatic 
interference with liberty being increasingly exercised by the 
government is causing even naval petty officers to feel that 
they are entitled, in the name of that government, to make 
whatever preposterous and unwarranted intrusions they see 
fit to make. 

The incident has a strong odor of the pre-war Germany 
that finally so came to offend us as to necessitate our destroying 
it. If the instance, which has been spread on the record by 
that excellent trade newspaper "Variety," were not so funny 
it would be pitiful, if not actually tragic. The officials who 
acted as reported should be seized upon and reprimanded by 
whatever agency of the government is able and intelligent 
enough to do it. 



[2*6] 



THEATRE MAGAZINE, NOyEMBER, 19U 




Portrait by W. F. Seely 



PAULINE FREDERICK 

Who returns to the stage this season after eight years of absence in "The Guilty One," 
a new drama by Michael Morton and Peter Traill. The play's New York premiere 
has had numerous postponements due to the great success it is enjoying in Chicago 

[287] 




Portrait by Arnold Genthe 



MARYON VADIE 



A young dancer of unusual beauty and sufficient talent to be billed throughout the country as the 
"American Genee" by the discriminating gentlemen who pick headliners for the Keith theatres. 
Miss Vadie is a pupil of the leading classical and ballet masters and is a native of Los Angeles 



[288] 



THEATRE MAGAZINE, NOVEMBER. 19it 



Enter the Artist As Director 

Observations at First Hand on Strides being Made by Continental Craftsmen 



THE scenic designer is a modern prod- 
uct. He was unknown to Moliere 
or Shakespeare ; the tailor was their 
only artist. Except for incidental music, 
the costume seems to have been the one 
field in which another talent than that of 
the actor or director invaded the theatre 
from Greek days until the last of the 
seventeenth century. 

There were designers of scenery in the 
Renaissance, but they kept to the court 
masques. The advent of Italian opera 
a development easy to trace from the 
court masque brought the painter 
upon the stage. The next two hun- 
dred years left us the names of a few 
scenic artists, but only a few. It was 
not until the twentieth century 
when, curiously enough, Realism was 
in the saddle that the painter of dis- 
tinction turned towards the stage. I 
doubt if any one more talented than 
a good carpenter or an interior deco- 
rator was needed to achieve the actu- 
ality which the realist demanded. 
When artists of distinction or de- 
signers with a flair for the theatre 
appeared at the stage door, it was 
because they saw Shakespeare or 
Goethe, von Hofmannsthal or Maeter- 
link, sending in their cards to Irving 
or Reinhardt or Stanislavsky. 

Now what are the relations that 
this modern phenomenon has estab- 
lished with the theatre through the medium 
of the director? Ordinarily they differ 
very much from the attitude that existed 
between the old-fashioned scenic artist and 
the director, the attitude that still exists 
in the case of most scenic studios. This 
is the relationship of the shopkeeper and 
the buyer. The director orders so many 
settings from the studio. Perhaps he 
specifies that they are to be arranged in 
this or that fashion, though usually, if 
the director hasn't the intelligence to em- 
ploy a thoroughly creative designer, he 
hasn't the interest to care what the set- 
ting is like so long as it has enough doors 
and windows to satisfy the dramatist. 

CO-OPERATIVE RELATION COMMONEST 

OCCASIONALLY you find a keen, 
modern director, for one reason or an- 
other, has to employ an artist of inferior 
quality. Then it is the director's ideas and 
conceptions and even rough sketches and 
plans that are executed, not the artist's. 
In Stockholm, for example, Harold Andre 
so dominates the official scene painter of 
the Opera that the settings for "Macbeth" 
are largely Andre's in design, though they 
are Thorolf Jannson in execution. 

The commonest relation of the director 
and the designer has been co-operative. 
The artist has brought a scheme of pro- 
duction to the director as often, perhaps, 
as the director has brought such a scheme 



By KENNETH MACGOWAN 

With Sketches by Robert Edmond Jo/tcs 

to the artist. The director has then criti- 
cised, revised, even amplified the artist's 
designs and brought them to realization 
on the stage. And then the artist and the 
director, arranging lights at the final re- 
hearsals, come to a last co-operation which 
may be more important to the play than 
any that has gone before. 

You find, however, constant evidence of 
how the artist runs ahead of the director 



The immediate question is obviously 
this : If the director cannot acquire 
the talents of the artist, why cannot 
the artist acquire the talents of the 
director? If the knack of visual de- 
sign and the keen appreciation of 
physical relationships cannot be cul- 
tivated in a man who does not pos- 
sess them by birth, is it likewise im- 
possible for the man who possesses 
them to acquire the faculty of un- 
derstanding and drawing forth emo- 
tion in the actor? 



in the creation of details of production 
which have a large bearing on the action 
as well as on the atmosphere of the play. 
Isaac Griinewald brought a setting to the 
mill scene in "Samson and Delilah," as 
produced by Andre in Stockholm, which 
was not only singularly dramatic, but which 
forced the direction into a single course. 
The usual arrangement is the flat mill 
stone with a long pole against which 
Samson pushes, treading out a large circle 
as the stone revolves. The actor is always 
more or less visible and there is no par- 
ticular impression of a cruel machine 
dominating a human being. Griinewald 
changed all this by using a primitive type 
of vertical mill wheel. The stage is in 
darkness except for one shaft of light strik- 
ing sideways across. The great wheel is 
set well down in front within a low circu- 
lar wall. Along this wall Samson walks, 
pushing against a short pole that sticks out 
from the centre of one face of the narrow 
mill stone. As he pushes, the stone swings 
about and also revolves. This allows the 
beam of light to catch first a thin crescent 
at the top of the curving edge of the wheel, 
then a wider and wider curve, until sud- 
denly, as Samson swings into view, the 
light brings out the flat face of the wheel 
like a full moon. Against this the actor 
is outlined for his aria. Then while the 
orchestra plays, he pushes the wheel once 
more around. 



This arrangement is extraordinarily fine 
as a living picture, and as an expression 
of the mood of the scene. Moreover, it is 
a triumph for the artist, because it is an 
idea in direction as well as setting. It dic- 
tates the movement of the player and man- 
ages it in the best possible way. There 
can be no other action for Samson in this 
set, and no other could be so appropriate 
and effective. 

Examples of similar dictation by the 
artistthough none so striking come 
to mind. In Frankfort, Sievert ar- 
ranges the settings for Strindberg's 
"Towards Damascus" in a way that 
contributes dramatic significance to the 
movement of the players. The piece 
is in seventeen scenes; it proceeds 
through eight different settings to 
reach, in the ninth, a church, and from 
the ninth the hero passes back through 
the eight in reverse order until he 
arrives at the spot where the action 
began. Sievert saw an opportunity to 
use the revolving stage, as well as ele- 
ments of design in a way interpreting 
and unifying the play. He placed all 
nine scenes on the "revolver," and he 
made the acting floor of each succes- 
sive setting a little higher than the last. 
This results in rather narrow rooms 
and a seashore bounded by formal 
yellow walls, but it permits an obvi- 
ous unity, it shows visually the path 
that the hero is to follow, and it sym- 
bolizes his progress as a steady upward 
movement towards the church. 

Sometimes the artist and director are 
the same, as with Pitoeff in Geneva and 
Paris, and with Kunt Strom in Gothen- 
burg, Sweden. In such a case setting, 
direction and acting are one. But ordi- 
narily there is a division of responsibility, 
and an opportunity for the modern artist 
to play a part in the production of a drama 
as important as the painters in the old 
court masques. Just how important it may 
prove to be is bound up, I think, with the 
future of the theatre as a physical thing 
and with the temperament of the artist. 
Working as a designer of picture-settings, 
the artist can only suggest action, but not 
dictate it, through the shapes and atmo- 
sphere he creates. 

THE PICTURE-SETTING TO GO 

HP HE important thing is that almost all 
1 the designers of real distinction in 
Europe are tending steadily away from the 
picture-setting. They are constantly at work 
upon plans for breaking down the pro- 
cenium type of production, and for reaching 
a simple platform stage or podium upon 
which the actor should present himself 
frankly as an actor. This means, curiously 
enough, that the designers of scenery are 
trying to eliminate scenery, to abolish their 
vocation. And this in turn should indicate, 



[289] 



(Left) The prison in Schiller'i 
"Maria Stuart," 39 produced by 
Richard Weichert at the Frankfort 
Municipal Theatre. The artist, 
Ludwig Sievert, has indicated the 
prison by black grills. Against 
the gray wall, Mary, gowned and 
veiled in white, bids farewell to 
her attendants before she goes to 
execution. 



(Right) The palace scene in Grillparzer s 
drama, "Der Traume, ein Leben," as given 
at the Volkabuhne in Berlin. Columns of 
dull gold, painted to suggest a spiral 
ihape, are spaced against a black cur- 
tain, which is later drawn aside to reveal 
a blood-red sky. In the foreground can 
be seen a group of plotting Orientals. 
The artist is Hans Strohbach 




(Left) Das Rheingold: Alberich's 
cave. A setting designed by Linne- 
bach and Pasetti for the National 
Theatre in Munich. The feeling 
of a cavern is produced by a back- 
drop painted with lines suggesting 
rock formations, and excellently 
lighted. A noteworthy example of 
the artist's replacement of the old 
"scenic artist." 



ROBERT EDMOND JONES SKETCHES SOME 
In His Wanderings With Macgowan through Europe Our Own Noted Designer 

[290] 



THEATRE MAGAZINE, NOVEMBER, 1922 



(RigAt) The sleep-walking scene 
from Verdi's "M a c b e I li" as 
produced by Harald Andre at th- 
Royal Opera in Stockholm. A 
simple and impressive setting done 
under the earlier influence of 
Gordon Craig. No one more than 
Craig has encouraged the artist's 
development in the theatre of 
today. 




(Left) Georges Pitoeff's arrangement of 
"He Who Gets Slapped," in Paris. The 
stage is draped in black curtains. Red 
ribbons are looped from the proscenium 
arch to indicate by their curves a circus 
tent. The actors make their entrances 
from behind a large poster. This ar- 
rangement is markedly different to the 
realistic setting made by Simonson for 
the Theatre Guild. 




(Right) The first scene from 
"Othello" as staged by Jessner at 
the State Theatre in Berlin. On 
long curved steps, which remain 
through the play, the artist, Emil 
Pirchan, places the barest indica- 
tions of setting. A narrow wall 
and a balcony, gleaming like a 
maonstone, make Brabantio'i 
palace. 



STRIKING EXAMPLES OF EUROPEAN STAGECRAFT 

Finds the Foreign Artist Stepping Successfully Into the Role of Director 

[291] 



that the artist has his eye on something 
else beside being an artist. 

The director who works in such a new 
theatre as the artists desire in the Re- 
doubtensaal in Vienna, for example, the 
theatre without proscenium, wings or back- 
drops, which the Austrian government has 
made out of the ballroom of Marie Theresa 
requires an artist to work with him, who 
sees drama in terms of the arrangement of 
action upon steps, and against properties or 
screens. This is ordinarily the business 
of the director in our picture-frame theatre. 
With the work of the artist enchantingly 
visible in the setting behind the actors, the 
director can get away reasonably well with 
the aesthetic problems of the relation of 
actors and furniture and of actors and 
actors. Nobody notes his shortcomings in 
this regard. Put him upon an almost naked 
stage, and he must not only make his actors 
far more expressive in voice and feature, 
but he must also do fine things with their 
bodies and their meagre surroundings. This 
is far easier for a pictorial artist than for 
the director, who is usually an actor with- 
out a well-trained eye. The director must, 
therefore, employ an artist even in the 
scenery-less theatre, and employ him to do 
what is really a work of direction. The 
two must try to fuse their individualities 
and abilities, and bring out a composite 
director-artist, a double man possessing the 
talents that appear together in Pitoeff. 

The immediate question is obviously 
this: If the director cannot acquire the 
talents of the artist, why cannot the artist 
acquire the talents of the director? If 
the knack of visual design and the keen 
appreciation of physical relationships can- 
not be cultivated in a man who does not 
possess them by birth, is it likewise im- 



possible for the man who possesses them to 
acquire the faculty of understanding and 
drawing forth emotion in the actor. 

The problem narrows down to the 
temperament of the artist versus the tem- 
perament of the director. There is a 
difference; it is no use denying it. The 
director is ordinarily a man sensitive 
enough to understand human emotion 
deeply and to be able to recognize it, 
summon it and guide it in actors. But he 
must also be callous enough to meet the 
contacts of directing often very difficult 
contacts and to organize not only the per- 
formance of the players, but also a great 
deal of bothersome detail involving men 
and women who must be managed and 
cajoled, commanded and worn down, and 
generally treated as no artist cares to treat 
himself in the process of treating others. 
The director must be an executive, and 
this implies a cold ability to dominate 
other human beings which the artist does 
not ordinarily have. The artist is essen- 
tially a lonely worker. He is not gregari- 
ous in his labor. 

POSSIBLE FUTURE DEVELOPMENT 

SO far as the future goes the hope for the 
artist is that he will be able to reverse 
the relations of director and artist. This 
may not be so very difficult. It may very 
well happen that an artist will employ a 
stage manager as an astute director now 
employs an artist, to do a part of his 
work for him. He will explain to the 
stage manager the general scheme of pro- 
duction that he wants, much as a director 
explains to an artist the sort of setting he 
desires. The stage manager will rehearse 
the movements of the actors towards this 



end. When the artist sees opportunities 
for further development of action and 
business, he will explain these to the stage 
manager, and perhaps to the players in- 
volved, and the stage manager will again 
see that the ideas of his superior are carried 
out. Something of the kind occurs even 
now where a director employs a sub- 
director to "break in" the company. Both 
Reinhardt and Arthur Hopkins, though 
thoroughly capable of "wading into" a 
group of players and enforcing action by 
minute direction and imitation, generally 
use the quiet method of consulting with 
players and suggesting changes to them, 
not during the actual rehearsal, but after- 
wards in the protection of a wing or the 
privacy of a dressing room. 

The presence of the artist as director 
in some future theatre without scenery im- 
plies a decided influence on the type of 
acting. 

Such a stage itself, thrust baldly at the 
spectators if not actually placed in the 
midst of them, tends to dictate frank, 
direct contact between players and audi- 
ence. In such a house an actor will be 
all but forced to desert the feminine, the 
retreative, the purely representational style 
of today, and to present himself and his 
emotions in an open assertive may I say 
masculine manner as objects of art and of 
emotion. 

The tendency of the artist towards this, 
kind of theatre implies, I think, a tendency 
towards "presentational" acting. Certain- 
ly I have talked with few who were not 
receptive to it. 

Put together a stage that tends towards, 
presentational acting and an artist whose 
instincts run to the same ends, and the 
outcome is not difficult to foresee. 



To a Retiring Vamp 

In your eyes once, as in a beast's of prey, 

Coiled slumberous treacheries; and on your mouth 

And on your languorous lips the withering drouth 

Of passion burned! The blood red rose that lay 

Upon your bosom was blighted by your breath, 

And did men take your kisses recklessly? 

(I'll say they did!) 

You were the spirit of the venom'd sea, 

That smiles, and in its caverns hisses death! 

Soul bitterness this child to love you bore, 

When poison curdled on your crimson lips, 

And hearts were crisped to ashes at your gaze. 

Now all the evil, all the sin you wore 

Upon you like a garment, from you slips 

Death pale you wander home to sinless ways! 

M. J. 



[292] 



THEATRE MAGAZINE, rVOt'EMBER. 




Bert Savoy as ihe Widow 
Brown in an amusing remi- 
niscence of the shows that 
decked Broadway when 
father was a lad. 



John . Hazzard sings a 
touching ballad, "Good-bye 
to Dear Old Alaska" illus- 
trated by slides in the: 
heart-rending fashion of old. 




Abbe 

Above, Dorothy Arnold in one 
of the entrancing costumes that 
give color to "The Nightingale 
and the Rose," a ballet adapted 
from Oscar Wilde's story. Be- 
low, Sweetheart Lane with 
Harrie'.te Cimbel as the Little 
Boy and Marjorie Pe erson as 
the Little Girl. 

At left, Linn Van Voorhees in 

a captivating lace costume, the 

Spider's Web, designed by 

Howard Greer. 

At right, Edythe Nedd as a 

''Red Head" in a gay number 

called "A Kiss from a Reel 

Headed Miss." 




Hesser 



Hesser 



MURRAY ANDERSON DOES IT AGAIN 
Beauty and Humor Rampant in the Latest Greenwich Village Follies 





1 



THE LADY OF THE ROCKS 

A Study in Contrasts 
by Edwin Bower Hesser 



The Mirrors of Stageland 

Intimate Glimpses Into the Character and 
Personality of Broadway's Famous Figures 

By THE LADY WITH THE LORGNETTES 



THEATRE MAGAZINE. NOVEMBER, 1922 



DAVID BELASCO 

HE sees everything, and misses nothing. 
His fine brown eyes give the im- 
pression of near-sightedness. But 
they are spiritual X-rays. He told me that 
he can tell at sight whether a woman has 
ever been loved. Er m ah, well! 

Shy without question. Any large affair 
save a Belasco first night is a torment to 
him. Artistry aside, I do not believe he 
enjoys the premieres at his own theatre. 
Too many eyes peering at him. He wishes 
he might flee those eyes, might take the 
automatic elevator and ascend to his 
million dollar studio on the top floor of his 
theatre, and dream of beautiful things. 
It is so much pleasanter to dream beautiful 
things into existence than to contemplate 
them when finished. 

The most beloved figure on Broadway? 
Yes, without doubt. For his kindness. 
"When I came here a frightened, ambi- 
tious waif from San Francisco, everybody 
was too busy to see me and too preoccupied 
to say a kind word," he has told me. "A 
kind word would have been like water 
to a man dying of thirst but it was denied 
me. I determined then that if ever I were 
established in New York no one would 
be turned from me without a kind word." 
No one has. If one were disposed to 
criticise the great D. B. he would say 
that he promises too much. But he makes 
the promises in good faith. He means 
to keep them. It is his intent to develop 
all the actresses and playwrights who go 
to him. He becomes aware that there are 
not enough hours in his brief life nor thea- 
tres enough in this broad land to do all 
that he would do. He retires to his high 
.studio, ignores all its expensive beauty, 
and grieves at the restrictions of time and 
space. 

He is an amiable wastrel. He spends 
money riotously, buying gifts for his 
friends. His stars receive princely gifts 
from him. They whom he counts as 
friends are liberally remembered on Christ- 
mas and at Easter. 

He spends his money so lavishly that he 
seldom has any about his person. He 
pauses at the box office, blinks in the fashion 
that has caused the impression that he is 
nearsighted, and humbly craves a ten dollar 
bill from the treasurer. 

He goes forth, buys something that 
catches his magpie eye for color or sparkle, 
and boards a street car for the Marie 
Antoinette. If he has spent all his ten 
the recognizing conductors smile at his 
frantic pocket searches and say, "It'll be 
all right next time, Mr. Belasco." Or if 
any money remains he pins a dollar on 



his wife's door. When his daughter, Renee 
Belasco Gest, lived beneath his roof she 
received the same daily remembrance in 
the same manner. And at rehearsals actors 
who have done well are frequently re- 
warded with a dime! 

BLANCHE BATES 

F\O you see that woman, tall and dark, 
- L ' that has a sparkling effect like a 
black diamond? Yes, the one with the 
man smaller than herself, following her 
down the aisle? Blanche Bates. The 
escort is her husband. 

Wonderful woman, Blanche Bates! Her 
friends call her the Indomitable. When 
she went her way, from David Belasco's 
management, there were many who pre- 
dicted disaster. Broadway annals give the 
names of more than one who has left the 
pleasant fold and wandered into divers 
miseries, including bankruptcy. To wander 
forth from that charmed circle called "be- 
ing with Belasco" requires the highest 
courage. 

But Blanche Bates went. She even 
went as far as to marry a police commis- 
sioner of Denver, who was eyebrows deep 
in a municipal quarrel in the Rockies girded 
city. 

George Creel is a first-class fighter. 
That is one reason why Blanche Bates 
married him. With tongue and typewriter, 
half way across the continent, from New 
York via Kansas City to Denever he has 
fought. He fought in newspapers and, 
while he was press agent for the United 
States government, during the war, he 
fought with the newspapers. I heard him 
fighting with whiplash tongue when the 
lights had been turned out on him at a 
"movie" opening. 

They've two children, a quaint, preco- 
cious girl, a replica of her grandmother, 
named Frances Virginia, and a delicate, 
sensitive boy who received his mother's 
family name, Bates. 

The late Lillian Russell, who in her 
memoirs said that Miss Bates was her best 
friend, outside of her own family, asked 
her: "Are you happy, Blanche?" To 
which Miss Bates responded : "Very. My 
husband and I are usually across a contin- 
ent from each other. Of course we are 
happy." Which, taken in conjunction with 
the twinkle that dances continuously in her 
eye, marks the dark star as a humorist. 

For a time after leaving the Belasco 
fold she wandered about what actors ir- 
reverently term "The Sticks." For two 
years she wandered thus, trying plays, even 
appearing in a photoplay, which she had 




sworn not to do. Midseason while she was 
weighing the dubious merits of the last 
play she had tried in the timbers, for a 
metropolitan return, she received a tele- 
phone from Henry Miller. 

"If only I could get you to play with 
me in Moliere," Mr. Miller besought her. 
"It isn't a big part but you can make it 
big." 

"If I am to be in all the acts I will," 
she answered; "if only in two, I would 
have to be coaxed." 

She must have been "coaxed" for she 
only appeared in two acts. But she glowed, 
vibrated, fairly radioed in the role of 
Moliere's rebuffed Countess. 

"And not a word about salary till the 
end of the week," recalls Mr. Miller with 
managerial wonder. 

Her reward was the co-starring role 
with him in "The Famous Mrs. Fair," 
and their present close association. 

Blanche Bates is indomitable. She is 
humorous. A delight to work with. And 
she is not mercenary. 

MICHAEL STRANGE 

T'HAT beautiful woman with the rest- 
J- less black eyes yes, the one who looks 
like an Egyptian princess is Mrs. John 
Barrymore. She has a perplexing lot of 
names. Call the roll. She would answer 
"Present" to Michael Strange. That is 
her pen name. She wrote, under it, "Clair 
de Lune," in which her husband and her 
sister-in-law, Ethel Barrymore, played a 
limited engagement at the Empire Theatre. 
Mrs. Leonard Thomas. She would answer 
"present" to that also,, save for preoccupa- 
tion. A woman's last romance swallows 
the memory of the rest. She was the wife 
of a rich clubman who bestowed that name 
upon her at the marriage altar. Blanche 
Oelrichs. Ah! That is the core of all 
her personalities and phases. 

Blanche Oelrichs was the beautiful, 
spoiled darling of a family of New York 
and Newport society. She had a marked 
individuality which manifested itself in 
writing repeating verse by the yard, even 
(Continued on page 332) 



NEXT MONTH: SAMUEL SHIPMAN, DANIEL FROHMAN, FRANCES STARR and JOHN BARRYMORE. 

[2951 



1. Life, to the "Old Soak" (Harry Beres- 
lord) is not a happy one. The law has 
closed his heloved saloon and left, for 
his convivial moments, only Al, the boot- 
legger (Robert E. O'Connor), Al's home- 
brewed hootch, Nellie, a thirsty house- 
maid (El)0 Williams'), and Peter, a still 
more thirsty parrot. With these worthies 
the "Old Soak" attempts to relive the 
glowing moments of belter days. 



2. Matilda, the "Old Soak's" far better 
half (Minnie Dupree) , loves her old 
reprobate, but for security's lake she 
has hidden from him the few bondl she 
as managed to keep against a posiible 
rainy day. 



3. Their son, Clem, Jr. (George Le Guere) , 
outwardly a model lad, is indulging in m. 
or 1. high jinks on the side with a chorus 
girl named Ina Heath (Mary Phillips}. 



4. (7(1 oval) The "Old Soak" himself. 

who has now abandoned all businesi the 

better to devote himself to the serious 

task of "gettin* licker." 




5. Clem Jr., led into extravagance by Ina, steals funds at his place of business. 
To replace them he is tempted by a hypocritical tee-totaler named Webster 
Parsons (Robert McWade) to steal his mother's bonds and sell them to Parsons, 
who is anxious to profit by them. How he does this and how the "Old Soak" 
shoulders the blame to save Matilda from agonized disillusionment in her boy 
is part of the dramatic developments that lead eventually to a rosy ending. 

Photos by Abbe 



THE NEW PLAY 
ff The Old Soak " Comes to Life in a Delightful Characterization by Harry Beresford 

[296] 



TIIKATKK MAGAZINE. NOVKMBF.R. 1921 



Mr. Hornblow Goes to the Play 




Foreword 

THE pre-seasonal avalanche has 
been rather in the nature of a 
carnival for morons. Rarely, in fact, 
has Broadway insulted itself more 
liberally than with the weak-sistered 
productions which have opened up 
dark houses and helped frighten away 
patronage from well-meaning theatre 
goers for the balance of the year. I 
have been a bit skeptical about the 
necessity for importing quite so many 
pieces from across the water, but 
when I behold even old reliables like 
Forbes and Broadhurst contributing 
to the proposition that all American 
playwrights are created 

equally bad I throw up 

my hands and encourage 

my faithful readers to 

look well before they 

leap into the seat of any 

theatre in New York. 

There are some good 

things scattered about, 

but it's a hundred to one 

shot that you won't find 

them unless you do your 

theatre shopping early 

and well-informed. 
The lesson for today, 

children, is Know Thy 

Play. If you don't, you 

will very probably waste 

your money, your evening 

and the affection and re- 
spect of all those you conduct thither. 

Indiscriminate theatre going is becom- 
ing almost as dangerous as crossing 

Times Square. 



THAT sly red-headed fellow who 
claims to be a Russian but looks 
like a tame Irishman and answers to 
the inappropriate name of Robert 
Milton has waved his unusually ca- 
pable wand over the cast of "Banco" 
and, lo ! it performs miracles. Not 
that "Banco" is a difficult piece to do 
miracles with. On the contrary, it is 
a spontaneous and gay farce, a capital 
entertainment in its original tongue 
and even more so in the irresistible 
lilt and bubbling facetiousness given 
to it by Clare Kummer. It is, in fact, 
Clare Kummer being made really to 
tell a story something she never does 
unless she is made to and the result 



Mr. Hornblow Specially Recommends: 

THE AWFUL TRUTH: An entertaining bit of dramatic 
Frenrh pastry; superbly produced and acted. 

BANCO A gay little farce, happily adapted from the French 
by Clare Kummer and played deliciously. 

KEMPY A homespun little American comedy, fresh as a sea 
breeze and bubbling over with life-like fun. 

KIKI A classic among comedies, thanks lo the untiring and 
gymnastic efforts of Mile. Ulric. 

LA TENDRESSE A powerful emotional drama with Henry 
Miller giving the prime performance of his career. 

The TORCHBEARERS A hilarious burlesque on the efforts 
of amateur actors; the second act is worth any price. 



Banco 

A new comedy by Clare Kummer 
from the French of Alfred Savoir 
produced on September 20th at the 
Ritz Theatre by William Harris, Jr., 
with the following cast: 

Charlotte, wife of Alexandre de Lussac, 
Lola Fisher; Porter, Hall Higley; Louis, 
page at the Casino, Edward_G. Robinson ; 
Baron Henri Delignieres, Francis Byrne; 
Julie, Charlotte's maid, Alice John; Georges 
Dalou, Robert Strange; Feydal, Commis- 
sioner of Police, J. Malcolm Dunn; Count 
Alexandre de Lussac (nicknamed "Banco"), 
Alfred Lunt; H;innn-ss IMiKiii.-rcs, m.ith.-r 
of Henri, Ch;irlntt<- <;r;mvilli-. 



is a more than engaging one. 

The miracles I refer to are the 
uncommonly capable performances 
given by every member of the cast 
some of whom have done creditable 
things before but never to such effect. 
Alfred Lunt, formerly a fair actor 
given to clownings, steps out of that 
class into being a character actor of 
amazing possibilities. As "Banco," 
the wild young count who leaves a 
pretty wife waiting for him in the 
foyer of a gaming casino for eighty- 
four hours while he plays baccarat, 
Lunt gives a performance that outdoes 
any personal achievement of the sea- 
son thus far. While it is true that, 
even yet, in serious moments Lunt can- 
not quite succeed in having himself 
taken seriously, he has won to himself 
a plausibility and manner far beyond 
any he has ever promised in the past. 



His was a capital and intelligent ex- 
hibition and lists him with Robert 
Ames, Leslie Howard, and one or two 
others as being an actor who is more 
artist than antic-thrower. 

As one who is familiar with M. 
Savoir's original, I feel qualified to 
comment more justifiably than is often 
the case on the manner of the adapta- 
tion. The meeting of Savoir and 
Kummer was a fortuitous thought on 
the part of Manager Harris, though 
one, I can well imagine, that must 
have taken a quantity of pondering 
upon. More different styles it would 
be difficult to imagine Savoir, broad, 
direct, Gallic to the nth degree Miss 
Kummer, delicate, digres- 
sive and Gallic to no de- 
gree at all! In conse- 
quence, "Banco" is a very 
different proceeding over 
here than Paris saw. Miss 
Kummer has made it 
wholly hers, giving it, one 
might say, a quality of 
charm and humor that its 
original needed more 
than it possessed. But the 
story, at least, is here and 
Miss Kummer (though 
I'm certain she did her 
best to dodge it!) has 
clung to it and come out 
triumphant. 

A dull, rather stupid 
setting mars the opening 
act immeasurably, and, added to that, 
Mr. Milton has committed the same 
Iristesse in his lighting that he did in 
"Madame Pierre." For two acts 
Livingston Plan's scenery is sheer 
affectation. The breath of life or liv- 
ing is simply not in it. In the last 
act we find a boudoir that is pretty 
enough and real enough to carry a 
suggestion of life. But the first set, 
that in the casino, was created obvi- 
ously without a thought of the script 
and with an eye only on design and 
not on drama. It was no more a 
casino along the Riviera than the same 
artist's first act in "Blue-Beard's 
Eighth Wife" was a hotel in Biarritz. 
Mr. Platt should really read the plays 
he designs sets for. For out of them 
comes inspiration for atmosphere and 
not out of tomes on "interior decorat- 
ing." 

(Continued on page 299) 



,[ 297 ] 




1. Mrs. J. Duro Pampinelli (Alison Skip- 
worth) a society woman who pretends to 
know everything there is to know about play 
production takes charge of her little group 
of serious thinkers* dramatic production at 
Horticultural Hall. She is aided and abet- 
ted by Nelly Fell (Helen Lowell) who as- 
sumes the fearsome task of stage manager. 

2. 'In oval) Paula Ritter (Mary Boland) 
is nominated by the little group to play the 
leading role in the proposed offering. Her 
histrionic ambitions are discouraged by her 
practical-minded husband (Arthur Shaw) 
but she resolves to go forward with her high 
plans at any price. At a dress rehearsal the 
wretched husband faints at the spectacle of 
his wife's acting. 




3. The production of "Dr. Arlington's Wife" is in progress at Hor- 
ticultural Hall. From back stage we watch the antics of the acton 
spurred on to excruciating efforts by their coaches. All the bewil- 
dering and amusing blunders of which amateurs are capable in pre- 
senting a play come thick and fast, thicker than faster, one might 
almost say. At the left Nelly Fell is imploring Mr. Twiller (Booth 
Howard), one half of whose moustache has fallen off, to get out of 
Paula's way so she can be seen by the audience. At the right Nelly 
almost falls down taking a bow herself before the curtain conceals her. 



4. (At left) Paula, back home, surrounded with so many flowers 
that Fred Ritter is reminded of a funeral is told the brutal truth 
about how bad she was by her husband. She clings at first to the 
praise of her friends as an armor against Fred's jealousy but comes 
at last to concede that perhaps her destiny is not Broadway after all. 



Photos by White 



THE NEW PLAY 
Amateur Theatricals Are Mocked Uproariously in "The Torch Bearers" 

[298] 



THEATRE MAGAZINE. NOVEMBER. J9 



The cast as I have said is excel- 
lent. Miss Fisher, happily back after 
a long siege of illness looked well and 
prettier than ever. Her performance 
was a trifle reticent for the needs of 
the play's pace but that will improve. 
She was at her best when the play 
reached its liveliest action. Francis 
Byrne was splendid as the simple- 
souled Baron who rescues "Banco's" 
wife from her card-fiend husband. 



The Awful Truth 

A new comedy by Arthur Richman 
produced on September 18th at the 
Henry Miller Theatre by Charles 
Frohman with the following cast: 

Daniel Leeson, Paul Harvey; Eustace Trent, 
George K. Barraud; Jayson, Lewis A. 
Sealy; Lucy Warriner, Ina Claire: Mrs. 
Leeson, Louise Mackintosh; Josephine 
Trent, Cora Witherspoon; Norman Satterly, 
Bruce McRae; Celeste, Kyra Alanowa; 
Rufus Kempster, Raymond Walburn. 

A BRIGHT and diverting little com- 
edy, thin as the air in high alti- 
tudes, but robust enough in the matter 
of entertainment is this new piece 
from the pen of the versatile and in- 
defatigable Richman. Finely cast and 
exquisitely mounted (every scenic de- 
signer in town who tends to the school 
of "prettiness" should be forced to 
bathe in the atmosphere of those su- 
perb sets for several hours on end!) 
this first Frohman production of the 
year (under, of course, the guiding 
hands of Gilbert Miller) is a credit 
to the theatre and helps balance the 
long and pitiful account of wretched 
productions that rain upon us. In 
fact, the whole proceeding is so very 
creditable that I regret my inability 
to say even more about the play itself. 
It is only due to the magnificent 
way in which the older Miller di- 
rected the play and the younger one 
produced it that the dangerous effects 
of repetitiousness and unplausibility 
are not more patent. 

Richman's touch is a felicitous one. 
I know of no American who is writing 
defter light comedy. Clare Kummer, 
the only other name that springs to 
mind, runs a more ingratiating charm 
into her dialogue, but it is largely 
will-o'-the-wisp stuff lacking in the 
underlying humanities that Richman 
never forgets. I do not understand 
the processes by which Richman came 
to write a play and Miller put it on 
without more attention being paid to 
the thing as a story. Not even the 
vagrant scintilla of plot and suspense 



a comedy is called upon to possess 
can be found in "The Awful Truth" 
after the middle of the second act. 
The tale is a slender affair, having 
to do with a pair of divorcees who 
fall in love with each other all over 
again. There is much ado about an 
alleged affair she was supposed to 
have indulged in at the time of their 
separation, and three acts are spent 
in the endeavors of various people 
to ascertain its truth. No one ever 
does, not even the audience, though 
in the manner of treatment of the sub- 
ject in the last act the impression is 
generally set at large that she was 
really innocent. At least, the ex-hus- 
band thinks so and all is again well 
between them. Miss Claire gives an 
uninspired but pleasant performance 
as the wife who may or may not have 
erred, and Bruce McRae as the un- 
certain husband is wholly admirable. 
More than a little is credit due to 
him for the proceeding's being mighty 
good entertainment. 



East of Suez 

A new play by W. Somerset Mau- 
gham produced September 21st at the 
Eltinge Theatre by A. H. Woods with 
the following cast: 

Harold Knox, Geoffrey Kerr; Wu, Nathaniel 
Sack; Henry Anderson, Leonard Mudie; 
Amah, Catherine Proctor; George Conway, 
John Halliday; Daisy, Florence Reed; Lee 
Tai Cheng, Howard Lang; Sylvia Knox, 
Gypsy O'Brien. 

MR. Maugham went to the Orient 
to write a play about the Orient. 
"East of Suez" is it. If to write a 
play was his sole motive in visiting the 
East, he might really have saved him- 
self the trouble of taking so long a 
journey. Two visits to Samuel Ship- 
man's "East is West" would have 
accomplished as much as has been 
accomplished by Maugham in catching 
anything of authentic atmosphere. The 
play concerns itself with a Eurasian 
vamp who gets herself into difficulties 
d'amour with as many men as any 
woman could ever hope to handle. 
There is much hard breathing and 
loud cursing and sneaky Chinks go 
hither and thither with their hands 
crossed over their stomachs. An inane 
and wholly conventional melodrama 
that dares to presume at times to deal 
with the "Eurasian question." Hoity- 
toity for which Mr. Maugham may 
be well ashamed, but which may make 
both him and his American manager 
a barrel of feminine money. Florence 



Reed is the seductive half-breed. Her 
performance it as cut-and-dried an the 
play. The men are all capital. The 
production is second rate. 



The Exciters 

A new comedy by Martin Brovrn, 
produced at the Times Square Theatre 
September 22nd by the Selwyns with 
the following cast: 

Ermintrude Marilley, Enid Markey; Lex- 
ington Dalrymplc, Chester Morris; Mrs. 
Hilary Rand, Thais Lawton; "Rufm" Rand, 
Tallulah Bankhead; Hilary Rand, Marsh 
Allen; Mr. Rackham, Frederick Karr; Sum- 
ter Dalrymple, Robert Hyman; Vaughn, 
Florence Flinn; Dan MacGee, Allan Dine- 
hart; Chauffeur. Albert Marsh; Joselyn 
Basset-Brown, Eichlin Gayer. 

A LITTLE of everything, with Tal- 
lulah Bankhead as its beautiful 
heroine. Miss Bankhead has literally 
too vast a sense of humor ever pos- 
sibly to be able to act with any convic- 
tion or sincerity. But she is radiantly 
lovely and is amusing to watch and 
I'd rather see her in a part than any 
of a dozen determined young things 
with authentic abilities but no person- 
ality. In this instance, however, the part 
makes even watching her something of 
a trial. Mr. Brown appears to be a 
ready jokesmith with a flair for the 
far-fetched fictions that pass as human 
behavior in the story-book magazines. 
Of play-writing as an art he has not 
as yet shown the signs of having too 
great an understanding. 



Greenwich Village Follies 

A new revue for 1922 produced 
September 12th by John_Murray 
Anderson at the Shubert Theatre with 
the following principals: 

John E. Hazzard, Lucille Chalfant, Bert 
Savoy, Jay Brennan, Marjorie Peterson, 
Ula Sharon, Carl Randall, Yvonne Georges, 
Frankie Heath, Harriette Gimbel, Alice 
Weaver, Josephine MacNicol, Julia Silvers 
and George Rasely. 

TO Mr. Balieff and Mr. Remisoff 
and a few others of that gifted 
crew from Moscow are due obeisances 
from the Hon. J. Murray Anderson, 
who has helped himself liberally, as 
any artist should, to the ideas and 
patents of the "Chauve-Souris." In 
consequence whereof, and notwith- 
standing, as they say, the Anderson 
Follies for the current year are wholly 
stunning and entertaining. It is an 
indescribable feast of beauty and 
Allah be praised! comedy. 




[299] 



1. Specky Todd (Robert Drysdale) , owner of a small boot shop 
in a Lowland Scottish village, is offered a fairish sum of money 
for his establishment by David Low (F. Manning Sproston) acting 
as agent for a large national concern. He is spurred on to close 
the deal by Hunky Dory (Walter Roy), an agreeable enough old 
toper who is continuously blackmailing Specky on the strength 
of something he knows about his past and hopes through the 
deal to make a good profit out of it himself. 



2. Below, Hunky Dory speculates on the thrills of the bottle 
and the evils of his life and determines to eschew *Vhusky" 
and win back the dutiful affection and obedience of his daughter, 
Jenny, who has long lived with Specky as his adop'ed child. 










3. Jenny (Nell Barker) called back to the parental borne by 
Hunky Dory says good-bye to Specky. Both are heart-broken 
at pat-ting from the other and Jenny pledges herself, at least, 
to engineer the sale of the boot-shop to the end of getting a 

good price for it. 

4. A boarder in Hunky Dory's home is Peter MaGuffie (Mac- 
Donald Watson) enamoured of Jenny, he finally wins her heart 
with his whimsicalities and pathetic need of some one to care 
for him. How this clashes with Hunky Dory's secret plans for 
Jenny's marriage to the wealthy young agent, David Low, and 
upsets the blackmailing scheme he has fostered is the bulk of 
the play's tranquil little tale. At least let it be said, this 

likable old villain takes defeat in excellent part! 



THE NEW PLAY 

Plenty of Scotch in "Hunky Dory" an Importation from Glasgow 

[300] 






THEATRE MAGAZINE, NOVEMBER. 1921 




A Serpent's Tooth 

A new comedy by Arthur Richman 
produced at the Little Theatre on 
August 24th, by John Golden with 
the following cast: 

Fanny, Josephine Williams; Jerry Middle- 
ton, Leslie Howard; Mildred Sherwood, 
Anne Sutherland; Alice Middleton, Marie 
Tempest: Bert Boyd, Howard Freeman; 
"Morgan Trendell, W. Graham Browne; 
Janet Trendell, Ann Merrick; Percival 
Faraday. Robert Lowe; A Caterer. John 
Clenments. 

HERE was a tid-bit to look forward 
to that failed grievously to live 
up to the things expected of it. The 
return of Marie Tempest after several 
years of doing obscure things in ob- 
scure places coincident with the view- 
ing of the first play Arthur Richman 
has given us since "Ambush" seemed 
one ray of possible light in a dark 
and gloomy pre-seasonal avalanche of 
moron offerings. Richman started off 
boldly enough, and, as is his usual 
wont, bravely enough. The theme of 
"A Serpent's Tooth" is not too distant 
a relative of that admirable tragedy 
that advanced both this author's and 
the Theatre Guild's reputation last 
year. Instead of a worthless daughter 
we have a worthless son, instead of a 
futile father we have a helpless 
mother. But where in the one instance, 
Richman ploughed stolidly through 
realities and brought his chef-d'oeuvre 
to a fitting and disastrous close, in 
the other he has compromised to the 
extent of endeavoring to make what is 
inherently dramatic (if not tragic) 
seem comic and to the further and 
reprehensible extent of "cleaning up" 
his wastrel at the close in the stage- 
wise fashion of sending him to one 
of those miracle dealing farms in 
"South America" which, by all thea- 
trical legend, turn bad little boys into 
good ones. 

It is obvious enough from the play's 
context and spirit that its commer- 
cialized flavor came largely out of 
rehearsals held not in the austere and 
truthful atmosphere of the Garrick 
but in the conventional halls where 
Broadway wiseacres are wont to 
gather and determine if "that's the 
stuff to give "em." Its every scene 
provides unexpected and disjointed 
moments of banality in contrast to the 
deep underlying purpose of the orig- 
inal script that, if one knows one's 
Richman, one realizes could never 
have seen creation with the same pen 
point that wrote the illustrious and 
memorable "Why? Why? Why?" that 
lowered the last curtain of "Ambush" 



on a note of pitiful fatality and hope- 
lessness. 

Richman's story is excellent. Alice 
Middleton has a good-for-nothing son. 
She is rapidly spending the small in- 
heritance left them by the dead 
Middleton, due largely to the boy, 
Jerry's, profligate living. Unexpected- 
ly and out of a dark sky rather than 
a clear one Jerry announces his en- 
gagement to Janet Trendell, the 
daughter of an old friend and beau 
of his mother. The Trendells are rich. 
It is this fact that has largely inspired 
Jerry's decision to marry, and Alice, 
in her joy at the prospect, attempts 
to will herself into the belief that her 
boy will love the girl eventually and 
everything will turn out as it should. 
But Jerry shows no inclination to 
reform. On the side he continues his 
relations with a cabaret girl and her 
set. Alice comes to realize that the 
trusting Janet's life will be wrecked 
if she goes through with the match 
and in a scene of rare power and 
truth discloses to Janet that Jerry 
is a rotter and beseeches her to halt 
before it is too late. It is in this 
probing and human situation that the 
full force latent in Richman's manu- 
script manifests itself. Carried along, 
with life and truth as the equation to 
be considered rather than the possible 
returns from Tyson, "A Serpent's 
Tooth" might well have been another 
"Ambush." But the piece is then 
promptly and woefully prostituted by 
the disinfecting of Jerry. "Cleaning 
up" of characters will before many 
years are over seem as ridiculous to 
even the general public as gas foot- 
lights and fly scenery would seem to- 
day. Characters do not change. At 
best they become readjusted to new 
and better conditions. A cattle farm 
can not remove a lad's proclivities 
for fast society. As a matter of fact, 
in my own experience, it enhances it! 
Miss Tempest is not especially inter- 
esting as Alice Middleton. She is at 
all times the actress working with 
grim determination over the business 
of making her retorts seem snappy 
and -her commonplaces seem epigram- 
matic. Old school endeavors may still 
go in light comedy but they are! 
strangely discordant in plays where 
characters, not words, count. She is 
clever, but too clever. She should 
eschew either realistic plays or her 
somewhat archaic unrealistic ways. 
But one thing she is always an in- 
telligent and remarkably youthful 
woman. 

A notable performance, and quite 



the best thus far this season, it given 
by Leslie Howard as Jerry. This 
young actor steps into a position of 
enormous importance with hi* work 
in the Richman play. O'Neill, or per- 
haps Richman himself, will before 
long provide this youngster with a 
part in which he will stand the town 
on its ears. There is truth in his play- 
ing, sincerity, intelligence, no exhibi- 
tionism, no trick technique. His per- 
formance is the most significant part 
about "A Serpent's Tooth." The rest 
of the cast is mediocre. 



The Old Soak 

A new comedy by Don Marquis 
produced at the Plymouth Theatre on 
August 22nd, by Arthur Hopkins with 
the following cast: 

Clem Hawley, The Old Soak, Harry Berts- 
ford; Matilda, Minnie Dupree; Lucy, Helene 
Sinnott; Clem, Jr., George Le Guere; 
Cousin Webster Parsons, Robert Me Wade; 
Tom Ogden, Grant Mills; Ina Heath, Mary 
Philips; Nellie, Eva Williams; "Al," Robert 
E. O'Connor. 

A CHARACTER who has lingered 
amusingly in the daily column 
that Don Marquis serves up for read- 
ers of The Sun now comes to life 
in "The Old Soak," a play too trivial 
to be ranked with the classic char- 
acter it attempts to vivify. The Old 
Soak, himself, a child of Mr. Marquis's 
talented imagination, was born to pro- 
mote and immortalize the current phil- 
osophies of those lovers of the jovial 
jug who have been made to witness 
the happiness that was once the bar- 
room's turn pitifully into the hypo- 
crisies of the speak-easy. His was a 
timely and brilliant creation. He 
more than took his place with 
Hermione, archy, Captain Fitzurse 
and those other Sun Dialisis who have 
crawled out of the Marquis brain 
to the better entertainment of the 
subway riding millions. He was more 
deeply significant than any of them, 
perhaps, in being what might be called 
expressive of a national mood. 

But when it came to play-writing, 
Mr. Marquis genially tossed his ad- 
mirable Soak into the lightest and 
tritest of pieces along the "Lightnin" " 
pattern. The character struggles to 
be recognizable through three acts of 
as frankly "written down" a piece as 
ever graced purely commercial boards. 
This from Mr. Hopkins and Mr. 
Marquis is at least a sincere effort not 
to be artistic. And in it they are 
(Cantinued on page 340) 



[301] 



"Fay o Fire Marie Tempest's first role 
on any stage in London at the age of 19. 




Her first big success in America in the title 
role of "Manon." 



Below, Miss Tempest as she is today after 

a long absence rom the American stage 

broken by the production of "A Serpent's 

Tooth." 



Another New York hit as Franceses in 
"The Fencing Master" 




One of her first legitimate parts 
Kitty in "The Marriage of Kitty" 




\s Suzanne Trevor in "The Freedom 
of Suzanne" in 1904 




Left, an interesting venture at the New Thea- 
tre. As Becky Sharp in "Vanity Fair" 

Right, a rare picture of a long forgotten 
day in the title role of ''San Toy" 

Motif by Lyman Brown 

BIOGRAPHICAL PAGES -No. 2. MARIE TEMPEST 

Miss Tempest was born in London on July 15, 1862. She was educated on the Continent and won prizes for her voice in Paris and London. She 
made her first appearances as a prima donna of light opera in "Boccaccio" and "The Fay o' Fire" in London in 1880. In 1890 as the "Dresden China 
Prima Donna" Miss Tempest was brought to this country and had instant success in "Manon," "The Fencing Master" and other operettas. In 1900 
she forsook the musical for the legitimate stage and two years later achieved renown in New York with "The Marriage of Kitty" and "The Freedom 
of Suzanne." Her subsequent career in the dramatic field makes her one of the few great comediennes living. 



[302] 



THEATRE MAGAZINE, NOVEMBER, 1922 



Bernhardt The Invincible 

An Interview That Picture, Intimauty the Mind and Spirit of the Aged Tragedienne 



prtain- 
ending 



ail 



WHATEVER may be our individual 
opinion as to post-mortem mani- 
festations concerning the immor- 
tality of the soul, there are relative 
phenomena of immortality 
which sometimes overwhelm 
one. 

There are occasions when 
the "will to immortality" tran- 
scends even a Shavian lon- 
gevity philosophy. 

When the immortal spirit 
of genius combines with that 
of courage and the will to I 
work, even though the bodyfl 
has long since paid its toll, 
we find ourselves face to face ' 
with something that commands 
our reverent attention. 

These are scarcely the 
thoughts the average dressing- 
room inspires. But the salon 
of Madame Sarah Bernhardt 
in her own theatre at Paris, i 
would no more come under 
the average classification than ' , 
would the actress herself. 

It was during her recent 
presentation of "R e g i n e 
Armand" that the "Divine *gt 
Sarah" sent me a loge to a _^^f 
performance and invited me 
to visit her behind scenes. 

IN HER DRESSING ROOM 

THE cheap sentimentality of 
the Louis Verneuil play of 

maternal love, too obviously 

machine-made and too patently 

reminiscent of Bernhardt's 

own affection for her son, 

challenged criticism no more 

than did a technical com- 
parison of the Divine Sarah's 

art with that of her glowing 

past. Both seemed of second- 
ary importance before the im- 
posing phenomenon the vivid 

personality of this old actress 
who defies age. 

Bernhardt's golden voice is 
gone, so are her physical charms, but 

Ushered into the glare of her .dressing- 
room I was, for the moment, overwhelmed 
at the travesty of youth and life which 
this genius with a great past was still por- 
traying. The heavily rouged lips, parting 
over teeth which showed too plainly the 
dentist's trade, the thin neck hung with 
false gems, the shrunken arms and fingers 
covered with stage jewelry all the arti- 
ficiality of the theatre accentuating the 
grim encroachment of reality gave me a 
momentary feeling of devastating sorrow. 
The inevitability of life which brings re- 
lentless decay even to genius makes tears 
rise in one's very soul. 

And then Madame Bernhardt begins to 
speak. 



By ALICE ROHE 

At once you realize the power of this 
woman, almost an orfotrmrm.in. Wr may 
prate of youth and its potentialities but 
here in this French woman, deprived of a 




of Acting who 

ill liortly up. 

pear iu a legiti- 
mate production. 

Abu.- 




In the dressing room are her maid, her 
companion, her secretary, a friend. There 
are everywhere faded reminders of the 
days whether dressing room was the most 
sensationally chic place in 
Paris. The memories are still 
there and the reverence, too, 
:r Paris adores the "Divine 
Sarah" and her goings and 
"unings are like the tradition- 
al movements of royalty. 

'Madame Sarah," as her 
servants affectionately call 
Ilier, is asking me to call at her 
'home the next day in order 
that we may talk more tran- 





"Ushered into the glare 

moment, overwhelmed at the travesty of youth and life which 
thii genius with a great past was still portraying." 



leg through a serious operation, over- 
worked, victim of too many ills that flesh 
is heir to, we confront a spirit that awes 
one. 

The fact that I notice that the rings on 
the small hands cannot disguise the age 
manifested in the distorted knuckles, that 
the simple artifices of coiffeur and jewels 
reveal, rather than conceal, the merciless 
lines of the grim caricaturist, Time, means 
only that my futile pity at the swirling 
circle of life again overpowers me. 

For when Madame Bernhardt talks it 
is with a vitality and keenness in sad con- 
trast with Inevitability. Vividly alive to 
the problems of the stage and of life itself, 
the energy of her intellect dominates all 
else. 



One . 

ireM i And then 

and Two men approach, the 
chair in which Madame Bern- 
hardt is seated before her 
dressing table, is raised and 
chair and occupant are carried 
to her place on the stage 

Love* "'here the action of the play 

- such that she never moves. 
\Vhether the feeling of 

tristesse which affected me at 
my evening at the Bernhardt 
Theatre had the same effect 
(in others I cannot say. But 
the contrast between the 
Divine Sarah in the theatre 
nd in her home is so strong 
that I felt a great wave of re- 
lief sweep over me when I 
saw her "chez elle." 

AT HER HOME 

T F memories crowd the dress- 

ing room, they submerge 
the home in Boulevard Peryre. 

Past trophies of the chase 
in the entrance hall, up the 
with ornamental bells, 
into the reception room where 
works of art and sculpture, 
tributes from famous men, 
crowd upon collections of cos- 
tumed dolls of all countries 
and periods, and characters, 
one finally looks through grilled iron gates, 
down rug covered steps into the music 
room. Here, too, the walls are lined with 
original paintings. A portrait of Maurice 
as a boy stretched on a rug with a great 
dog, is in evidence. The Past speaks in 
every angle. 

Then you are summoned upstairs and 
after many rooms you come to "Madame 
Sarah", the indomitable worker, the un- 
dimmed spirit of courage, the relentless 
and successful combatant of Time. 

There are others in this small "den" in 
which Madame Bernhardt is seated in a 
perfect avalance of papers. A playwright 
is just departing having read a new play. 
A letter from a publisher is still in her 
hand, and she is giving it to her married 



[303] 




grandchild, daughter of Maurice. Visitors 
are departing and then we are alone. 

Madame Bernhardt extends a highly 
manicured hand with nails so rouged that 
they leave stains like blood upon my glove. 
She is gowned in flowing white satin robes 
caught with two large oriental brooches. 
There is the ribbon of the Legion of Honor 
and all else is pure white. Her hair is 
arranged as the night before, caught at the 
back with a black bow. Her eyes are 
heavily blackened and her 
with rouge. But she is quite 
person and makes quite a differ! 
sion upon me than that of th| 
evening. Today there is no g 
trast with the artificiality, tbj 
lieve of the theatre, the false 
simulating youth. 

She is a dominant, vital w 
spirit for work permeates the 

BERNHARDT'S I'll II .((SOPHY 

1 REALIZE that I am, indm 
to receive at first hand a praq 
stration of a life philosophy k in lhc 
direct simplicity, contains all 
of our more intricate and f 
cults. The "Will to do this' 
Will to do that," the unconsci 
of one kind and another, the 
lytical and expensive theories 
away before the crystallization 
Bernhardt's rules of life proce. 

"You find me working," sh 
cause I always work. I have tl 
letters to go through in pre 
my memoirs. I have finished 
to Artists,' but for Memoirs 
go through so many things." 

On the table was a note bo 
she had been making memora 
her side is a mass of papers 
had not yet examined. 

"People say I work too harf 
haps I do but work has kepq 
in spirit. 

I murmur something about t 
of hard work being rest and 
she does not feel a desire for r 
all she had experienced in recent 

"No for I believe that so 1 
spirit desires contact with one's 
just so long can one keep the spar 
art alive. I will never stop until 

"Why the reason so many women grow 
old, prematurely, is that they have no 
definite work in life. They wear them- 
selves out, worrying over approaching 
wrinkles, over petty ailments. Don't think 
about your troubles and you have over- 
come them. Don't think about getting old 
and you have cheated time. The best 
antidote for old age in the world is cease- 
less occupation in a congenial work." 

"What do you think of the post-war 
stage," I ask, for Madame Bernhardt is an 
incessant reader of new plays and an in- 
defatigable student of art in all countries. 

"Denmark offers the best drama today," 
she replies with appreciation. "The stage 
of Copenhagen has given us a spiritual 
grasp of things in dramatic form which has 



supplied a necessary element in post-war 
life. No other country approaches Den- 
mark today it is a land of thinkers, of 
philosophers with a great understanding of 
practical spiritual needs. 

"France is essentially a drama-producing 
nation but like all countries which have 
passed through the war, trivial frivolity is 
often the reaction. America ," Madame 
Bernhardt's tone implies that she regards 
America as quite too immature to be con- 





on any stage in I.oml'in ul ill 



Below, Mise Tempest us she i- 
a long absence rom the \m,-ri<an stage 
broken by the production of "A Serpent's 
Tooth." 




"But I thought you were going to Belle 
Isle" 

"Not till late summer," she replies. "I 
want to make a tour which ends 
"In America?" I question. 
"Perhaps I would like that and I am 
feeling very well now." 

I glance at the white robed figure, the 
draperies always arranged so that there is 
no suggestion of the missing leg. 

"Don't think for a moment that when 
I go to Belle Isle I am idle," she is saying, 
me here in Paris submerged in 
It consists of one appointment 
?r throughout the day when 
o rehearsals or performances, 
he business details myself, one 
n touch with every phase of 
' Every hour possible I give to 
' . These will supplement the 
d before the war but I hope 
e liberally of personal details 
ones. Naturally, checking up 
s takes more time than does 
k for events slip the mind and 

Another .New accurate." 
The 

GLIMPSE OF THE FUTURE 

:s a moment, lost in thought 
inging back the past one must 
ie submerged in it that is the 
le and morbid decay. There is 
ure to look forward to." 

Isle I work at other things, 
u tided by the sea I love best 

knows, Madame Bernhardt 
upon her last monument a 
shine across the sea from her 



m the high carved chair, the 
white robes falling about her, Madame 
Bernhardt suggested a Sibyl. 

"It seems to me that one of the most 
important things in the world today is to 
concentrate on Art and on spiritual phi- 
losophy whether in dramatic or any other 
form. A world tormented by war seeks 
some higher comfort than materialism. 
Yet it is only natural that I should regard 
the stage as one of the greatest mediums 
for carrying truths and help to the public. 

"I have just decided upon a new play 
for my tour 

"Your tour " the surprise in my tone 
escapes before I can stop. 

"Certainly," replies the tireless Madame 
Sarah. "My engagement at my own thea- 
tre is of only thirty performances 



nothing gloomy nor morbid in 
, is there? being remembered 
burning light?" 

most expressive symbol an 
it- ' I reply, looking at this 
woman sitting there helpless 
' su gg estH1 g sucn great force, 
e I feel impelled to ask if she 
red. 

/ sometimes, but my mind, my 
^^ on, never, never!" 

wonder that a talk with this 
\'\\'\ woman inspires one with a 
MMBKiir tireless force of genius which 
approaches immortality? 

"You look as though you were feeling 
sorry about something," comments 
Madame Sarah. 

"Oh not at all " I reply, taking my- 
self in hand "I was merely